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Digitized by the Internet Archive

in 2013

http://archive.org/details/photoplay120phot

Scanned from the collection of

The Museum of Modern Art Library

Coordinated by the

Media History Digital Library
www.mediahistoryproject.org

Funded by a donation from
David Sorochty

LARGEST CIRCULATION MAGAZINE

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T W.fl - GREAT MAGAZINES FOR THE PRICE OF ONE

lE&QiiTiONS THE STARS SHOULD MAKE by Hedda Hopper

BRENDA MARSHA

Starring in
THE SMILING GHOJ
a Warner Brothers Picti

f&t com&j&Htevffctt^ft,

THE SILVERWARE SERVICE of the STARS. All the glamour isn't in
Hollywood! Back east . . . up north . . . down south — up-and-coming young
Americans are glamorizing their tables with the selfsame lovely silverware
their favorite stars select. Your silverware dealer will show you that this is
much, much easier than you'd believe ... for just think of it — services start
at $19.95 and Planned Payments can make your choice — yours TODAY!

1881

73-PIECE SERVICE lor 6

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in the Miss America
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BUT HEADS WILL TURN .. if your Smile is Right!

There's magic in a lovely smile!
Help yours to be sparkling —
with Ipana and Massage.

IOOK about you, plain girl! The most
4 popular girl isn't always the pretti-
est girl. It's true in the world of the
stage and screen— it's true in your own
small world.

Heads do turn— eyes do follow— hearts
do respond— to even the plainest face if
it flashes a winning, glamorous, spar-
kling smile.

Make your smile your beauty talis-

man. Keep it as enchanting as it should
be. Help it to be a smile that wins for
you the best that life has to give. But
remember that, for a smile to keep its
brightness and sparkle, gums must retain
their healthy firmness.

"Pink Tooth Brush" — a warning!

If you ever see "pink" on your tooth
brush— see your dentist right away. It may
not mean serious trouble, but let him
decide. He may say simply that your
gums need more work . . . the natural ex-
ercise denied them by today's soft foods.

And like thousands of dentists, he may
suggest "the helpful stimulation of
Ipana and massage.''

Ipana is specially designed, not only
to clean teeth brilliantly and thoroughly
but, with massage, to help firm and
strengthen your gums.

Massage a little extra Ipana onto your
gums every time you brush your teeth.
Notice its clean, refreshing taste. And
that invigorating "tang" tells you circu-
lation is increasing in your gums— help-
ing them to better health. Get a tube of
Ipana Tooth Paste today.

A LOVELY SMILE IS MOST IMPORTANT TO BEAUTY!"

say beauty editors of 23 out of 24 leading magazines

Recently a poll was made among the beauty editors of 24
leading magazines. All but one of these experts said that a
woman has no greater charm than a lovely, sparkling smile.
They went on to say that "Even a plain girl can be charm-
ing, if she has a lovely smile. But without one, the loveliest
woman's beauty is dimmed and darkened."

IPANA

TOOTH PASTE

A Product of Bristol-Myers

JANUARY, 1942

*
•

*
*

**&*

mmm

Published in
this space
every month

The greatest

star of the

screen!

Tis the month
before Christmas
and all through
the movie houses
there are a lot of
wonderful films
to be seen.

• • •
This column is in
the present and
future tense. Since it is a Christmas is-
sue, we will first talk about the present.

• • • •
There is the Garbo picture. Of
"Ninotchka" caliber — debonairy and
de-lovely.

JANUARY, 1942

VOL. 20, NO. 2

It is called "Two-Faced Woman" —
practically a double feature in itself.

• • • •

And every single feature of Garbo is
something to behold. Ask co-star
Melvyn Douglas.

• • •
Comes too, "H. M.
Pulham, Esq." —
which so many have
read. Hedy Lamarr
and Robert Young
step right from the
pages as the saying
goes.

• • • •
"Panama Hattie", the famed Broadway
trip-hammer of hilarity, gives us more
Ann Sothern hospitality and Red Skel-
ton's hornpipes of pandemonium.

• • • •
Spencer Tracy, the matinee and evening
idol, and Katharine Hepburn, who also
is no idle idol, appear in the picture of
the year.

M \

Entitled "Woman of The Year".

• • • •

And then also on this Yule season list,
we're including "Babes on Broadway"
which we deliver with all sorts of golden
predictions of being something to dance
in the streets about.

• • • •

That is, the dancing in the streets will
be done after you've seen the dancing
in the theatre.

• • • •
It's all to the
merry, merry.

• * *
And at the same
time let us wish you
a happy, happy.

— Scutta lea

Advertisement for Metro-Goldwyn-Maver Picturta

ERNEST V. HEYN

Executive Editor

combined wttk

LTD COD WD CB
ica n eh eh <x> LH

HELEN GILMORE

Associate Editor

HIGHLIGHTS OF THIS ISSUE
Holiday Greetings 18

Personal messages from the stars to you

Resolutions the Stars Should Make Hedda Hopper 20

Hollywood columnist tells Hollywood what to do. Result: Fireworks

Flight Officer Olivier Reporting — 22

An intimate letter from the London Oliviers to the Douglas Fairbankses Jr.

— And They're Over There Too 24

Last-minute news of other Hollywood stars in England

"I Feel Like a Heel about Errol"

Says Olivia de Havilland to Irene Zarat 26

An inside look at Livvie's own ideas of that guy Flynn

No Runaway Marriage for These Two! Kay Proctor 28

Jackie Cooper and Bonita Granville have their own plans about weddings

Love among the Reagans Ida Zeitlin 30

A cheerful little earful about Ronnie and his two "Delinquent Girls"

Strictly Zanies ... 33

Make up your mind about Olsen and Johnson only after you've read this

How Not to Trim Your Christmas Tree Fredda Dudley 34

Laraine Day and Jeffrey Lynn ring some bells on Christmas presents

Don't Hitch Your Wagon — John R. Franchey 36

Throw out those old adages and go modern with Brian Donlevy

Right This Way Folks! 38

Star performers in the greatest show on earth caught by Cameraman Hyman Fink

The Male Animal Fiction version by Norton Russell 40

A story that will have everyone in the family chuckling out loud

Things I Wish Men Would Do Joan Bennett 44

Ida, the Mad Lupino Howard Sharpe 52

I Wake Up Screaming! Steve Fisher 54

These two men and the girl were playing the most fantastic game on earth

Say Hello to Nicky Jr 56

Introducing the newest branch on the "Thin Man" family tree

The Truth About Stars' Salaries "Fearless" 57

GL A M O U R

Natural Color Portraits of Charles Boyer 32

These Popular Stars:

d ±x n or Portraits:

Bette Davis 25

Olivia de Havilland 27 Philip Dorn 42

The Ronald Reagans 30 Joan Fontaine 43

FASHIONS, BEAUTY NOTES AND DEPARTMENTS

Close Ups and Long Shots — Ring in the New 50

Ruth Waterbury 4 Brief Reviews 58

Speak for Yourself 6 Star Finds in the Stores 60

Inside Stuff— Cal York 8 Ladies Invited 84

The Shadow Stage 14 Casts of Current Pictures 85

Hi, Miss Winter! 45 Candy Kid 86

COVER: Barbara Stanwyck, Natural Color Photograph by Paul Hesse
Miss Stanwyck's ski suit designed by Lanz of Los Angeles

PHOTOPLAY combined with MOVIE MIRROR Is published monthly by M.vi I uhun PUBLICATIONS, INC.. Wash-
ington and South Avenues, Dunellen. Now Jersey. Editorial offices. 12: East 4 2nd St.. New York N, . Y. Execu-
tive office 205 E. 42nd St., New York. N. Y. O. J. Elder, President: li.tydo, k Miller, secretary; t harles H. Shattuck.
Treasurer; Walter Hanlon. Advertising Manager. Advertising offices. 122 E. -12nd St., New York. N. Y. Chicago
office 22 i North LaSalle St.. E. E. Lethen, .Ir.. Mgr. Pacific Coast office: San Francisco. 420 Market St.. Lee Andrews
Mlt ' Entered as second-class matter September 2 1. 1931, at the post office in Dunellcn. New Jersey, under the

, V . ,1 M.ncli :). 1H7H Vl.iitional entry at Chicago. III. Price in the United states and Possessions and Newfound-
land SI 00 a year; price per copy. United States, U)c; Canada, loc. In Canada, tuba. Mexico. Haiti. Dominican
KcDiihl'ic Spain" and possessions, and Central and South American countries, excepting British Honduras. British.

Hitch and French Guiana. SI. 50 a year; in other countries IS.50 a rear. While Manuscripts. Photographs and
wings are submitted at the owner's risk, every effort will Ik- made to return those found unavailable if aceom-
n .riled %V suffice!. I Bret-class postage and explicit name and address. But we will not be responsible for any Joss of
such in itter - contributed Con.r, outers are especially advised to be sure to retain copies of their contributions,
otherwise they are taking an unnecessary risk.

Member of Macfadden Women's Group.

The contents ol this magazine may not be reprinted either .WhoUy^OrJta part without ^permission. Reelstro

ts ol this magazine i not he reprinted eiinel wholly or in. part win .... •« ;^»

N icional de la Propiedad Inteleclual. Title trademark registered In U.S. Patent Office.
■ mted in U. S A, by ATI Coli ■ Printing Co.. Dunellen. N. J.

photoplay combined U'itli movie mirror

THIS ABOVE ALL

we give you

as the high point

of our February issue.

Bright star of the fiction year,
this is above all about a man
and a girl in war, in escape,
in love.

In their lives you see the
struggle of a new world —
the deep moving passion they
both try to deny . . .

— the bitterness of the man
who survived Dunkerque to
say: "A man will die for his
own freedom and never com-
plain. But when his children
ache with hunger, he'll swap
it for a loaf of bread and call
it a better bargain . . ."

— the sublimity of the girl who
faces the coming of her baby
to say: "You're going to have
a better time of it than we
did. We're going to win this
war because we can stick it.
And then, God willing, we're
going to win the peace — for
you and the millions of others
like you to come . . ."

In Twentieth Century-Fox's
greatest 1942 love story star-
ring Tyrone Power and Joan
Fontaine —

THIS ABOVE ALL

Be Lovelier! So very Soon !
Go on the

CAMAY "MILD-SOAP7 DIET !

This lovely bride, Mrs. Alfred L. Powell of New ^ork, N. Y., says: "I'm so devoted to
the Camay 'Mild-Soap' Diet ! I tell all my friends about this wonderful aid to loveliness."

Start this exciting course in beauty
care ! It's based on the advice of skin
specialists-praised by lovely brides!

WHISPERED praises in the moonlight
—''Your skin is so lovely to look at.
so delightful to touch". . . Every woman
should hear these compliments. Do you?

If not, then the Camay
"Mild- Soap" Diet offers
you a promise of new love-
liness. For, unknowingly,
you may be clouding the
real beauty of your skin
through improper cleans-
ing. Or, like so many

women failing to use a beauty soap as
mild as it should be.

Thousands of brides have found the
key to loveliness in the Camay "Mild-
Soap" Diet. One such bride is Mrs.
Powell who says: "My skin has reacted so
beautifully to the Camay 'Mild-Soap' Diet
I'd never try any other beauty treatment!'
Skin specialists advise
regular cleansing with a
fine mild soap. And Camay
is milder than the 10 other
famous beauty soaps test-
ed. That's why we say "Co
on the Camay 'Mild-Soap'
Diet . . .TONIGHT!"

GO ON THE "MILD-SOAP" DIET TONIGHT!

Work Camay's milder lather overyour skin, pay-
ing special attention to the nose, the ba6e of
nostrils and chin. Rinse with warm water and
follow with thirty seconds of cold splashings.

Then, while yon sleep, the tinj pore openings are

free to function for natural beauty. In the morn-
ing—one more quick session with this unl.l.r
Camay and your skin is ready for make-up.

ANUARY. 1942

Caro\e Lombard I * ^
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THE speed with which the pattern
of Hollywood is changing becomes
more apparent with every passing
day, this winter of 1941 ... on "the
projection room circuit" . . . that is, in
the projection rooms in the private
homes . . . the homes of the absolute
top directors, of the really top stars, of
almost every producer ... in those
projection rooms where movies are
seen days and weeks and sometimes
months before the public sees them
and where many a star is born and
killed . . . there, the current conversa-
tion is centering on John Ford ... on
Douglas Fairbanks Jr .... on Betty
Grable ... on what may happen to
Alice Faye ... on the amazing case of
Carole Lombard . . . and on the Bioff
case . . . (everybody in Hollywood
calls that one the Buy -off case, which
was what it was supposed to be, only
the "fix" didn't stick). . . .

Ah, weird and wonderful is the talk
that goes round and round in those
projection rooms. . . .

Since he has a hit ready and wait-
ing, they talk first of John Ford, these
nights . . . John Ford, who represents
the spirit of artistic independence. . . .
You know him, of course, this
sturdy, unfettered Irishman whose

Green

cim in

real name is Sean O'Fearna ... he
who directed that most artistic of
movies, "The Informer" . . . who a
year ago made "The Long Voy-
age Home" and a season before that
"Stagecoach" . . . and who in between
made slick movies for Twentieth Cen-
tury, notably "Grapes Of Wrath". . . .

Well, right now, Mr. Ford has fin-
ished "How Green Was My Valley"
and it is a miracle . . . because, up
until now when Mr. Ford did a pic-
ture at Twentieth, he washed his
hands of it the moment he finished
shooting . . . that is why a film like
"Drums Along The Mohawk" could
bear his name and yet emerge so un-
distinguished. . . .

For there is a rule, you see, at Twen-
tieth Century that Darryl Zanuck, the
studio head, can cut any picture any
way he chooses . . . John Ford, the free
man, wouldn't compromise ... he
would direct a picture just as his con-
tract specified . . . but when it came
to cutting them . . . either he cut them
all by his own ... or he had no part in
the cutting of them . . . thus he cut
none of his Twentieth Century pic-
tures . . . but made them quickly and
efficiently . . . then took his own
money and went elsewhere to make
the pictures he loved . . . and which he
knew only a small audience would
love, too. . . .

Then along came the story, "How
Green Was My Valley" . . . Twentieth
bought it . . . John Ford was assigned
to direct it . . . and he couldn't be
quietly businesslike about such a tale
... he had to put all his imagination
and heart and Irish emotionalism into

situ

5tmTm»»«w

the telling of it . . . the result is such
a beautiful, poignant film as happens
very, very rarely. . . .

The projection room circuit sits
back, wonders and marvels, at a story
of Welsh mining life, done with a "B"
cast turning out to look like a million
dollars, and artistic yet. . . .

Then they marvel over Douglas
Fairbanks Jr. . . . who is ceasing to be
"young Doug" to them any longer . . .
or merely the son of his father ... or
Joan Crawford's ex-husband ... or
Mary Pickford's stepson . . . but a
handsome, intelligent, deeply sincere
young diplomatist working for our
country . . . giving up chances at fine
roles . . . giving up the income he
would get from them . . . because he
wants to serve America in the way
that our President has told him is the
most helpful way that he can serve. . . .

Many of the inner circle Hollywood
people have told Doug that they are
proud of him for this . . . that they
think he is doing a great thing not
only for the United States but also
for the movie business . . . proving
through his own handsome person and
through his clever brain that actors
are people . . . that they are part of
the average (Continued on page 65)

photoplay combined With movie mirror

THE GREATEST MUSICAL COMEDY EVER FILMED !

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of WE Otf 5 ^^oJ^HAT CHAN«
/^ LOVEUYOAYTOrAORR^ AND

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YOU'RE LONEIY

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by IRVING BERLIN

Directed by IRVING CUMMINGS • Screen Play by Jerome Chodorov and Joseph Fields • Based on the Musical Comedy by Morrie Ryskind • From a Story by B. G. DeSylva

"LOUISIANA PURCHASE IS COMING SOON. ASK YOUR LOCAL THEATRE MANAGER FOR THE DATE!

JANUAPV, 1942 g

A month ago the name
Jean Wallace didn't
mean much to Holly-
wood; today it's being
spoken everywhere in
exclamation-point tones.
She's the girl who eloped
with Franchot Tone; here
they are at the Mocambo
just two nights before
they pulled the quickie

Left: These two always set
flash bulbs popping; this
Mocambo huddle of Paulette
Goddard and Charles Chap-
lin set tongues wagging. Rea-
son: They haven't been seen
many places together lately

THEY'RE
SIGNIFICANT

BY CU YORK

The current spice of Hollywood life

PHOTOGRAPHS BY HYMAN FINK

TIDBITS: Hollywood is wondering
it: Deanna Durbin will follow in
her producer husband's footsteps
and leave Universal Studios, which
has been Deanna's studio home since
the time of her first picture. After
all, Universal didn't do so badly for
Vaughn Paul, who just two years ago
was an assistant director trying to get
along. He is now a producer and no
longer at Universal. Young Paul has
signed with RKO.

Friends applaud Alice Faye's deci-

sion to leave the screen for a year
until after her expected baby is born.
Alice and Phil Harris were remarried
in Texas last month, just to make the
tie stronger.

Connie Bennett is another prospec-
tive mother and husband Gilbert Ro-
land couldn't be happier. Connie has
one son by a former husband, the
late Phil Plant.

Jeanette MacDonald and Gene Ray-
mond have set the ball rolling with
a brand-new idea for our Uncle

Sammy's boys. They even have a
name for their idea. They call it
"Date Leave." Every other Sunday
Gene and Jeanette telephone the
U. S. O. in Los Angeles, who select
ten or twelve boys from any branch
of the service, herd them into the
Raymond station wagon and send
them off for the day to the Raymond
home. In the meantime, the Deans of
Women of the University of Southern
California and the University of Cali-
fornia at Los Angeles select an equal

photoplay combined totth movie mirror

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The implication of this h,: Li
future is that Robert Stoc?
having fun on n J i i . , ck ls

T^ner Sheila p+flel0rd-La'1o
Havilland and AnCr0'''^ de
-essive nig^n feder.

number of girls to be guests, with
swimming, singing and much good
eating the order of the day.

The boys, who are subject to much
regimentation in camp, are not urged
to participate in any games they do
not feel like playing. Everything is
left up to the boys and girls.

One or two of the lads have broken
down and wept out their thanks, the
loneliness and homesickness that have
been dispelled by the kindness of the
Raymonds.

JANUARY, 1942

Other Hollywood folk are following
suit, welcoming boys into their homes,
treating them to home-cooked food
and, more important to the boys,
making it possible for them to meet
nice girls. And maybe you think the
mothers of those boys aren't grateful!

Get Out Your Copybook, Ginger:
Ginger Rogers' face is almost as red
as her hair these days.

A few weeks ago Ginger went to
Kansas City to visit relatives and

while she was there she paid a visit
to the Benton Grammar School where
she learned readin', writin' and 'rith-
metic. (Incidentally, Walt Disney
went to the same school a couple of
years before Ginger.) Of course, la
Rogers' visit was a sensation and she
autographed text books right and left.
Imagine her surprise, then, to receive
a letter from the principal after her
return to Hollywood:

"Dear Ginger: We loved having you
here and we are proud of you. But

JniAk otuff

your handwriting is still terrible — and
now all the youngsters are trying
to copy it. So from now on, don't
autograph any text books for us!"

Lookie, Skyscraper Girls: There
have been other tall girls in movies,
but never one that has caught the
attention of fans as has Alexis Smith.
So, to meet the flood of letters from
up-in-the-air fans, Alexis has organ-
ized a Tall Girls' Club for girls over
five-foot-seven throughout the coun-
try. Letters are sent by Alexis to
members with nuggets of pure-gold
suggestions.

For instance, Alexis' suggestions in
her first letter dealt with the problem
of shorter escorts. Some of her tip-
offs were:

1. Always let him take your arm.
Never take his.

2. Wear small-crowned hats.

3. Stand straight up.

4. Don't gaze down at him while
dancing. You can always keep your
eyes closed and it's more flattering
to him.

5. Don't wear large-brimmed hats.
It's hard enough for him to see around
you without obstacles.

Pretty good advice, eh, girls? If
you're interested, why not write
Alexis at Warner Brothers and get on
her mailing list? And happy dating
to you all.

Col's Chitchat: We have Betty
Grable's word for it, there is no feud
between her and Carole Landis. "The
fact I go to my dressing room between
scenes on the set does not mean I am
feuding with anyone. Nor does it
mean I am high-hat. The whole thing
is ridiculous."

Maybe, but those two lovely
blondes, Carole and Betty, are not
the closest of friends, either. Take
our word for it.

Since her separation from Roger
Pryor, Ann Sothern is the belle of
the ball, with Cesar Romero, Ann,
John Howard and Hedy Lamarr a
happy quartette. Robert Sterling is
a bidder for Ann's attention, too.

This started something in Holly-
wood: Jeanette MacDonald and
Gene Raymond's "Date Leave"
party for service men and co-eds

Barn-dancing, cheek to cheek ver-
sion: the George Murphys in old-
fashioned gear and modern mood
at the West Side Tennis Club

Ham-and-corn close-up of Gary
Cooper and Claudette Colbert
in a back-to-the-farm movement
at the Tennis Club barn dance

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The premiere of "Sundown" was
the occasion for the biggest party of
the month. Joan Bennett acted as
hostess, as husband producer Walter
Wanger was called to New York on
business at the last moment. Ciro's
was jammed from roof to rafters, with
practically everyone in Hollywood on
hand. As usual, Marlene Dietrich cre-
ated a riot in a mile-high (or so it
seemed) hat dripping with ermine
tails. More ermine tails and Jean
Gabin dripped from the sides.

Patricia Morison has an idea that's
catching on like wildfire. It's called the
"Invite a soldier for Christmas din-
ner" movement and already Pat has
twenty-seven boys lined up in twenty-
seven homes for a Merry Christmas.

Say It Right: Take Hedy Lamarr's
name. It's Haydee, and not heady,
please. And Charles' name is Boy-
yay, which at least is close enough
to the French pronunciation to make
Monsieur Boyer happy.

The handsome Nils Asther is Neels
Astor and Nelson Eddy's new leading
lady is Rees-ay Stevens, and not Rise
as in Rise and Shine.

There are three syllables to Diet-
rich's first name. It's Mar-Lan-a, to
rhyme with "I have a pain-a." Miss
Turner's first name, on the other hand,
is La-nah, to rhyme with Hannah.

And as for Jean Gabin, the French
actor, he's called everything from G
to V. According to his studio, it's
(Continued on page 12)

photoplay combined icith movie mirror

What to do when

you feel a COLD

coming on

WHEN you start to sniffle . . . when you feel a chill ... or
get a dry, rasping irritation in your throat, it's time to
act — and act fast! A cold may be getting you in its grip. What can
you do to ward it off?

Unfortunately, in spite of all the time and money spent on
studying the condition, there is no known positive specific.
Certainly, we would not classify Listerine Antiseptic as one.
Yet tests made during ten years of intensive research have con-
vinced us that this safe, pleasant-tasting germicide often has a
very marked effect.

Over and over again these tests have shown that those who
gargled Listerine Antiseptic twice daily had fewer colds, milder
colds, and colds of shorter duration than those who did not.

Kills Germs Associated with Colds

The reason for this success, we believe, must be that Listerine
Antiseptic kills vast numbers of germs on mouth and throat
surfaces ... so called "secondary invaders" which, according
to many authorities, are largely responsible for the distressing
manifestations of a cold. Listerine Antiseptic kills these germs
by the millions, before they can invade the delicate membrane
and aggravate infection.

Tests Showed Outstanding Germ Reductions on Tissue Surfaces

Clinical "bacteria counts" showed germ reductions on mouth
and throat surfaces ranging to 96.7% even 15 minutes after
gargling with Listerine Antiseptic ... up to 80% an hour after
the gargle.

Isn't it sensible, then, to use Listerine Antiseptic promptly
and often to help combat a sore throat and keep a cold from
becoming troublesome ?

We do not pretend to say that Listerine Antiseptic so used
will always head off a cold or reduce its seventy once started.
But we do say that it has had such a fine record in so many test
cases that it is entitled to consideration as a reputable first aid.

Get the habit of gargling with full strength Listerine Anti-
septic morning and night; and if you feel a cold coming on,
increase the frequency of the gargle and call your physician.

Lambert Pharmacal Company, St. Louis, Mo.

LISTERINE for

COLDS and SORE THROAT

Go to bed at once, take a mild laxative if your doctor ad-
vises it. Drink plenty of water and fruit juices. Fat lightly.

2 Gargle with Listerine Antiseptic, full strength, every
three hours. Listerine kills millions of germs on mouth
and throat surfaces before they can invade the delicate
membrane and aggravate infection.

NOTE HOW LISTERINE GARGLE REDUCED GERMS

The two drawings illustrate height
of range in germ reductions on
mouth and throat surfaces in test
cases before and after gargling
Listerine Antiseptic. Fifteen min-
utes after gargling, germ reduc-
tions up to 96.7% were noted; and
even one hour after, germs were
still reduced as much as 80%.

3 At night, take a hot
bath, or at least a hot
foot bath, before getting into
bed. Cover up with plenty
of extra blankets to "sweat
the cold out of your system."

4 Don't blow your nose
too hard. It may spread
infection to other parts of
the head. Sterilize used hand-
kerchiefs by boiling. Paper
napkins should be burned.

LISTERINE THROAT LIGHT

BATTERICS
INCLUDED

JANUARY, 1942

(Continued from page 10)
Ja Ga-ba, which sounds like so much
jabberwacky to old Cal.

Guess we'll just call him "Dietrich's
boy friend" and let it go at that.

The twenty-five-year-old genius of
the movies and theater, Laird Cregar
(Hollywood is raving over his per-
formance in the stage play of "The
Man Who Came To Dinner"), is a bit
upset over the way his last name is
manhandled. It's pronounced "Kre-
gar," to rhyme with "Cigar." Bette
Davis' first name is pronounced
"Betty," not "Bet" as Bob Hope seems
to insist over the air.

The luscious Rita Hayworth is Reeta
and Dottie's last name sounds like
Lamoore and that fascinating villain,
Conrad Veidt, answers to Vite and
Gene's unmarried name is pro-
nounced "Teer-nee." Her husband's
first name is Oleg, with the accent on
the O. "Casseenee" comes nearest to
Cassini. And Franchot's name is pro-
nounced "Franshow."

Any other name that's been stump-
ing you or your friends?

Bob Hope — the Author: Far be it
from us to turn book reviewer (Cal
Clifton Fadiman York), but we can't
resist the temptation to talk about
Bob Hope's new book in which Bob
relets to the Academy Award Oscars
as "Frozen Quiz Kids."

After-ceremony grins: Loretta Young,
best man Cary Grant, bride Rosalind Rus-
sell, bridegroom Fred Brisson, Barbara
Hutton, Frank Vincent, Charlotte Wynters

Mid* otuff

Yes sir, Hopeless Hope has cer-
tainly penned himself a tome you fans
will adore. Bob's book is different,
too. In fact, it's the only one written
that has a wait after every sentence
for the laughs.

Bob's Book -of -the -Mumps (you
can't eat a pickle while reading it)
may never touch "Berlin Diary" for
sales, but if it ever fell into the hands
of an enemy it would confuse him into
submission. In case of combat we
suggest dispensing with pamphlets
and dropping Bob's book in the
enemy's general direction. General
Direction would give up at once.

It begins with a Bing and ends with
a bang. Crosby writes the introduc-
tion— as if scoop-chin Hope needs an
introduction!

Bob begins by saying, "There was
a great deal of excitement at the little
house next door to the Barretts of
Wimpole Street. My best friend was

having a baby. Me. London and my
father were very foggy that night!"

To quote at random: "I was such a
beautiful baby. My parents had me
kidnapped twice a week just so they
could see my picture in the papers . .
I used to cry so much they had to
diaper me on both ends . . . My father
was the proud father of seven boys.
In fact, he was the Bing Crosby of
his day."

Yes sir, Mr. Hope has written him-
self one long streamlined gag, one that
will take you roaring away from what
ails you. Anyway, if the humor
doesn't get you the illustrations will.
We're still laughing.

Roz takes a Bridegroom! Roz Rus-
sell up and did it! Hollywood's most
famous bachelor girl gladly and
willingly gave up all claim to the title
when she married her agent, Fred
Brisson. Rosalind's marriage had been
rumored and threatened for some
time, with Roz repeatedly denying
the rumor.

Then, a few days after her mother
in the East announced her daughter's
engagement, Roz and Freddie traveled
up to the historic Santa Ynez mission
in the little Danish community of
Solvang, California, and in company
with their close friends were married.

Cary Grant made a handsome best
man. As one guest whispered, it

photoplay combined with movie mirror

must seem queer to Cary, who has
been Roz's screen husband several
times, to see his screen wife become
the bride of another. And what a
lovely bride Roz made, in her simple
white Danish-type gown. Actress
Charlotte Wynters (actor Barton
MacLane's wife) was matron of
honor.

After the ceremony the guests were
treated to something new in wedding
receptions — a picnic on the mission
grounds, under the live oaks. Around
the tables, decorated in Danish (the
groom is a Dane) and American flags,
sat Mr. and Mrs. William Powell, the
Nigel Bruces, the Herbert Marshalls,
Barbara Hutton, Mildred Crawford,
Roz's stand-in, her two sisters and
their husbands and her mother. The
bridegroom's parents were also pres-
ent.

It must be all of ten years ago that a
tall lanky boy called Freddy Peterson
roamed around the Paramount Stu-
dios at loose ends with himself and
everybody else. "Oh. that's Carl
Brisson's brother,-' was the way Holly-
wood dismissed him. Mr. Brisson, the
Danish prize fighter who had turned
actor, was doing his best to catch
America's fancy at the time.

Then Freddy went away and people
forgot him until one day, a few years
ago, he came back in Hollywood as
an agent. His name was now Freddie
Brisson — he'd really been Carl's son
all the time, but for publicity reasons,
it had been thought best to deny it.
Freddie, charming, ingratiating,
seemed to have found himself. He
also found Rosalind Russell — as a
client.

Cal wonders if others, too, remem-
ber that rather lost bewildered boy,
who has now married Hollywood's
most sophisticated glamour girl.

It's a funny world and Cal hopes it
will always be a wonderful one to
Roz and Freddie.

{Continued on page 73)

The men will look at Marlene
Dietrich at Ciro's; the ladies will
spot the ermine-tail scarf and hat
and, incidentally, Jean Gabin

ffiW&Z

LASSO BOOTS — Ruiwr

boot style for the ladies, filched
from a cowboy! The picture of
real range boots, ton, in leather-
like fini-h and tooled" leaf de-
sign— (thanks to the patented
Textran process.) HADE IN heel

HEIGHTS TO FIT ANY SHOE — FROM
FLAT:; ' TC SPIKES

MILITARY BOOTS

— Style stolen from a
Sergeant, Chevrons an
all ! Pull on very easily
over any shoe! Heels to
fit brogans— cuban-heeled
street shoes — and dressy
types, sporting "spikes.'
Choose the boots that su
the heels you use!

•ft*

JANUARY, 1942

Military Bo

by
B- f- Goodrich

REVIEWING MOVIES OF THE MONTH

A reliable guide to recent pictures. One check means good; two checks, outstanding

A film to remember: Maureen O'Hara, Wal-
ter Pidgeon in "How Green Was My Valley"

Drama plus beauty: Loretta Young and
Dean Jagger in "The Men In Her Life"

^ How Green Was My Valley
(20th Century-Fox)

It's About: The story of a boy's life
in a Welsh mining town.

HERE is something we can shout
about, weep over, love forever
and forget never.

John Ford has won himself a star,
if not an Oscar, for his beautiful direc-
tion of a story narrated by a man who
tells of his boyhood in a little Welsh
coal-mining town.

Poignantly tender, at times sonor-
ously deafening in its emotional thun-
der, it never once gets out of tone,
out of harmony, out of atmosphere.

Marching through the tale is the
father, Donald Crisp, and the mother,
Sara Allgood, with their brood of boys,
among them Patric Knowles, John
Loder and little Huw, played by
Roddy McDowall with unbelievable
understanding. Maureen O'Hara is the
beautiful daughter.

Walter Pidgeon, as Mr. Gruffydd,
the preacher, gives his best perform-
ance to date. In fact, it is impossible
for us to find a single flaw in this
spellbinding picture.

Your Reviewer Says: An Academy
Award Contender.

The Best Pictures of the Month
How Green Was My Valley
Dumbo

Target For Tonight
Hot Spot

The Maltese Falcon
Appointment For Love

Best Performances

Walter Pidgeon in "How Green
Was My Valley"

Roddy McDowall in "How Green
Was My Valley"

Donald Crisp in "How Green Was
My Valley"

Maureen O'Hara in "How Green
Was My Valley"

Sara Allgood in "How Green Was
My Valley"

Laird Cregar in "Hot Spot"

Loretta Young in "The Men In Her

~ Life"

Conrad Veidt in "The Men In Her
Life"

Humphrey Bogart in "The Maltese
Falcon"

Sydney Greenstreet in "The Mal-
tese Falcon"

Mary Astor in "The Maltese Fal-
con"

Charles Boyer in "Appointment For

Li i
ove

Margaret Sullavan in "Appointment

For Love"

^ The Men In Her Li*'e
(Columbia)

It's About: The loves in the life of a
famous ballerina.

LORETTA YOUNG attempts to carry
on her frail shoulders the burden
of a dated story that carries no other
name so strong as her own. She does
nobly with the story material at hand
and is aided by some strong masculine
support. Conrad Veidt is marvelous
as the retired dancer who takes the
raw but ambitious young Loretta in
hand and makes of her a world-
famous ballerina. In gratitude Loretta
marries him when he confesses his
love, renouncing the man of her own
heart. John Shepperd.

Young Mr. Shepperd is a handsome
newcomer, radiating the kind of ap-
peal that women respond to. Dean
Jagger. as a staid American million-
aire and father of Loretta 's baby,
seems uneasy in his role. Little Ann
Todd, as the child, is wide-eyed with
the wonder of it all. Eugenie Leonto-
vich and Otto Kruger are outstand-
ing in their roles. It's an odd. out-of-
the-way film, with drama and beauty
that cannot be ignored.

Your Reviewer Says:
soul.

Portrait with a

FOR COMPLETE CASTS OF CURRENT PICTURES SEE PAGE 85

photoplay combined with movie mirror

* Hot Spot (20th Century-Fox)

It's About: The solving of a New
York murder.

TWENTY-FIVE-YEAR-OLD Laird
Cregar is one of the finest actors in
the business, or else why do we still
have those goose pimples? As the
schizophrenic detective with the flat
dull voice that carries more menace
than a sack of dynamite. Cregar is the
most enormous (and we mean it)
scary-cat in movies. The incongruous
catch to the whole business is that
Cregar is the detective on the side of
law and order, in search of the mur-
derer and not — but wait.

The story has Victor Mature, a New
York promoter, deciding to make a
glamour gal of hash slinger Carole
Landis. His two friends, ex-actor
Alan Mowbray and columnist Allyn
Joslyn, aid and abet Mature in his
project until glamour gal Landis, who
succeeds beyond their wildest dreams,
gets herself erased, as our gangster
friends say.

Betty Grable, sister of Carole, and
Mature immediately become suspects
and, while thrown together in their
troubles, discover they love each
other. Relentlessly pursued by Cre-
gar, the pair hides like animals until
their capture and the surprising
climax.

It's a pip of a little picture, moving
fast, piling up suspense and gathering
no moss as it rolls. Taken from Steve
Fisher's book, it lacks the title of "I
Wake Up Screaming!" Why the
change, we'll never know.

But that great big Cregar Boy!
Mama, turn the light on quick.

Your Reviewer Says: A chiller, a kill-
er, a diller.

^ Appointment For Love
(Universal)

It's About: The honeymoon troubles
of a professional woman and her
author husband.

BOYER at his smoothest. Sullavan at
her slickest, movies at their trick-
iest; a combination difficult to beat
and who would want to?

Never has Monsieur Charles so
strongly merited his number-one lover
rating, as the playwright who mar-
ries the successful doctor, Margaret
Sullavan. Immediately after the mar-
riage, Dr. Sullavan puts into practice
all her scientific theories concern-
ing love and marriage by taking her
own apartment five floors above her
bridegroom's.

Boyer tries every possible scheme
to woo her downstairs. She fails to
become jealous (that's only a secre-
tion from the (Continued on page 79)

JANUARY, 1942

THE LIFE AND LOVES OF AN I
EXCITING WOMANJ-

with

CONRAD VEIDT • DEAN JAGGER

JOHN SHEPPERD • OTTO KROGER • EOGENIE LEONTOVICH

Based on a novel by lad* Eleanor Smith • Screen play by Frederick Kohner. Michael Wilson. Paul Trlvers
Directed br GREGORY RATOFF • A GREGORY RATOFF PRODUCTION • A COLOMBIA PICTURE

WALTER PIDGEON
as GRUFFYDD

MAUREEN O'HARA

a, ANGHARAD

GREAT FAMILIES

make great pictures!

from the days of "THE BIRTH OF A NATION"
and "CIMARRON". . . through "CAVALCADE"
and "BEAU GESTE". . . down to "THE
HOUSE OF ROTHSCHILD," "THE GRAPES OF
WRATH" and "GONE WITH THE WIND"...

great families make
GREAT PICTURES!

. . . and now to the screen conies the brave
story of a family never conquered — not
by armed men or hardship, hunger or
hate — nor by the turbulent years that
stole the greenness from their valley.

DONALD CRISP
os GWILYM MORGAN

PATRIC KNOWLES

as IVOR

■■■■ ■ : ■ ;-'£--: , I ■:■■■!:■■

BMBMMMMWH

ANNA LEE
as BRONWEN

RODDY McDOWALL

asHVW

SARA ALLGOOD
as MRS. MORGAN

JOHN LODER

as IANTO

Twentieth Century-Fox presents

Richard Llewellyn's

with

WALTER PIDGEON ♦ MAUREEN O'HARA- DONALD CRISP
ANNA LEE -RODDY McDOWALL

John Loder • Sara Allgood • Barry Fitzgerald • Patric Knowles

Produced by Directed by

DARRYL F. ZANUCK • JOHN FORD

Screen Play by Philip Dunne

CLAUDETTE COLBERT <j%»*m6* iteDy

If!

photoplay combined with movie mirror

PHOTOPlflf

[MIRROR

The Chances We Take

NO magazine can hope to be infallible, can hope to
avoid occasional errors and inconsistencies. This
is particularly true of magazines which deal in
personalities, and thus are frequently affected by the
vagaries of temperamental human beings.

As I have told you before on this page, PHOTOPLAY-
MOVIE MIRROR prides itself on trying to be the most
up-to-the-minute source of Hollywood information. Al-
though a magazine bringing you beautiful colored pic-
tures best printed by the complex rotogravure process
cannot hope to be as timely as a newspaper or a news
magazine, we count upon our sources and the sources of
our writers to bring you the important stories first.

But, believe me, we have to take chances. Why? Well,
let me give you an example:

Quite some time before the news broke in the papers
that Stirling Hayden was going to quit Hollywood, one
of our most reliable sources gave me this information and
offered a story explaining why Hayden was taking the
step. You have heard all the suspicions: a publicity stunt,
a strike to get better salary, maybe even a momentary
whim that would blow over. I was in Hollywood and
covered all possible sources of information. Helen Gil-
more in New York did the same. We learned beyond a
shadow of a doubt that Stirling Hayden meant it. But
what if it were a momentary mood, blown away by the
first gust of a changing wind?

Well, that was a chance we had to take and, in taking
it, rely only upon our instinct of why people do things —
and when. It was not until weeks later in my office in
New York that I was actually able to look into the clear,
determined eyes of Stirling Hayden and know definitely
that it was no momentary mood.

Sometimes we are not so fortunate. Several months
ago we published "Round-up of Romances," in which
Rosalind Russell stated emphatically, "I'm not going to
elope, no matter what the newspapers say." Well, she
didn't elope, but her statement to Ruth Waterbury, most
reliable of Hollywood editors and reporters, definitely
gave you the impression that she did not intend to marry
Fred Brisson at all. A few weeks later she was his bride.

Publishing Mrs. Brisson's (nee Russell's) statement
was a good bet. We took the chance. And lost.

But take the case of the romance of Ginger Rogers and
George Montgomery, published in last month's issue. As
you may recall, the story does not claim that George and
Ginger are going to get married or that the relationship
is anything more than a charming romantic friendship.

The behind-the-scene facts about that story are amusing:
When I received the manuscript, Ginger was not in
Hollywood and her mother, Lela, one of the most honest
and straight-shooting women I know, was at the new
Rogers ranch in Oregon. Most of my pals in Hollywood
were telling me that the romance had ended practically
before it had begun (as they are still saying) and every
evidence pointed to the desirability of "killing" the
story. The phone rang. It was Lela Rogers, just re-
turned from the ranch. I was leaving for New York that
night, but somehow I must manage to verify the story.
"When can I see you?" I asked Lela. "Tonight," she
said. "But I'm leaving for New York," I replied. "I
know," she said, "your office told me. Ginger and I are
going East on the same train."

So in that case we didn't have to take a very big
chance, for in the hours we all spent together I was able
to verify the fact that George Montgomery had definitely
proposed to Ginger and that their friendship was still on.

F course, we cannot expect stars to continue in-
definitely to be friends because they once said they

Nor can we expect them always to carry out their
plans, since often fate makes them "gang agley."

You may remember the odd circumstance that attended
Richard Greene's departure from these shores. Supposedly
in Hollywood waiting for a commission in the Canadian
army — and open to criticism for his actions — he was
actually, according to a tip given us, in New York pre-
paring to sail for England. We called the British ship-
ping commission and although we could not verify it
(war censorship, you know) the tone of the officer in
charge gave us the clue to its truth. We took a chance
there. And won.

The collective instincts of our staff told us — in the case
of Alice Faye and Phil Harris — that they were not going
to get married. But Sara Hamilton, our most energetic
newshawk, insisted it was on the level. Doubting her
judgment, we still took a chance, assigned her to an inter-
view with Harris — and thanks to her superior instinct
we had a scoop when the marriage was announced
later.

So it goes. We can check the highest authorities. We
can deal with only the most reliable writers, verify our
sources and theirs. And still, somewhere along the line
of getting a scoop, human nature being what it is, we
usually have to toss a coin.

JANUARY, 1942

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JANUARY, 1942

Don't blame us — it's Hedda's own ideas of what Hollywood's 1942 intentions,
honorable or dishonorable, should be. But wait till Cary Grant sees what she said!

BY HEDDA HOPPER

SEEMS incredible that resolution time has caught up with us again.
This year's gone by faster than flit can catch flies. Some of my
last year's resolutions haven't been digested yet, but I always say
one good turn deserves another. So here goes, without malice, reser-
vations, or pap.

If we ever have another investigation like the late lamented Wash-
ington Follies, I'm hoping the first person put on the witness stand
will stand up, when accused of making propaganda pictures, and have
courage enough to say, "Sure we made 'em. We make pictures to please
all the people. And inasmuch as all our books, radio, short stories,
newspapers were filled with the atrocities of Hitler, we put a few of
them on the screen. What would you have us do — close our eyes and
pretend a war isn't going on?" But when the public proved that they
didn't want war pictures, no industry ever turned about-face more
quickly to go into musicals, comedies, and give the public what it
wanted. Let's stand up to our obligations and when accused of some-
thing we had every right to do, say, "Sure we did it. You can't shoot
a man for aiming to please — or can you?"

Clark Gable should resolve to throw his influence to get Judy Garland

photoplay combined with MOVIE mirror

yrone Power: Dattyi Zonuck
enow letter

Spencer Tracy: At last we find"
oat wnot he cut eyetaeth on /

as co-star. Now that she's grown up and married, she's earned that
right and I have a feeling her fans would applaud it. Sure, I know she's
wonderful in musicals. She and Mickey Rooney in "Babes On Broadway"
ooze so much talent they're frightening. But remember, Clark once
did a song and dance — maybe he could learn to do another one, who
knows? Failing that, Judy can go dramatic with him.

Let's hope Jeanette MacDonald and Gene Raymond decide to team
up again. "Smilin' Through" went over with a bang, after the producers
had howled for years that you fans wouldn't like to see husbands kissing
their own wives on the screen. Well, if they can't do a good job of it
after so many rehearsals, who can?

In Ginger Rogers' busy schedule (gosh! she's wanted for every picture,
seems to me. Yet only a few short years ago there were grave doubts
that she could do drama) I wish she'd find time to squeeze in another
picture with Fred Astaire, because the musicals they did together never
yet have been topped by anyone.

Let's dig up another "Woman Of The Year" like Katharine Hepburn
for Spence Tracy. He's proven in this that he's a better comedian than
he was horror man in "Jekyll And Hyde." Why (Continued on page 83)

JANUARY, 1942

FLIGHT OFFICER

We are fortunate to be able to
bring you, with the permis-
sion of all concerned,
this fascinating, in-
timate letter from

Laurence Olivier

Douglas Fairbanks Jr.
and Mary Lee Fairbanks

Walking down a
London street: Laur-
ence Olivier and
wife Vivien Leigh

photoplay combi?ied with movie mirror

O\M0i REPORTING

The letterhead bearing
the name oj the "land"
ship mentioned below
was removed by censors

Dearest Do

shor»p ■, s-"ip» o,r„ , ^^QcJresc; your- fr,? -

y' London

shor»p ■, s-"ip» O,ro , a<3(^rescJ your- fr,? -

•SiMaii.*"!'*' toVgT> is V* I »ay be B fr«ucishl

»ait*r mstPa/° do*n th land" ^.r6 *ovinc. „

rt.a / bwu« «.«.?£ «te „^M«fc^.

"t »"*»«« So"lr?«s „.„, l" boat.. hel«

our /"i163 from iS .»«h »» ._ . °d J

Viv,

a fe* faise God

W ,?U<* fro„ " »ith „« g a"d J

^thi„ ^th the(0^s lastayw^o' Go/S10* for

^rT^ri^^thfif °fficerqr G lords') ^Qtfs

For last minute
newi of what
other Hollywood
stars are doing
in England please
turn the page

JANUARY, 1942

, . . ave taken part in
Reported to have n Q

several successful ^ ^ ^en

5ia Franc: M-ior

Richard Greene, just given his
commission in the tank corps, was
one of the tireless actors who
gave shows in air-raid shelters

America hailed Ralph Rich-
ardson in "The Citadel ; he s
in the British Navy

now

AND THEY RE OVER THERE TOO

'^^jUl^

amt

OVER the air in England one night soon, from the British Broadcasting
Company, will come a crescendo of "V's," tapped out in Morse code by
the nimble feet of Fred Astaire. A night or two later the voice of Charles
Boyer will be heard assuring embattled Britons that there are: "forty million
Frenchmen with an English accent in their hearts."

The two programs are among the recordings which Ben Lyon and Bebe
Daniels, former American film stars, now England's favorite air entertainers,
recently took back to London from a quick trip to Hollywood to enlist the
support of film folk there in the British campaign to keep morale high.

Just how highly the English government values the aid to morale of stage,
screen and radio entertainment is testified by the frequency with which many
of the English actors in various arms of the service are released from their
military duties long enough to do a play or picture.

David Niven, one of the first English actors to volunteer, is now a major
in the parachute corps, and is reported to have taken part in several successful
raids on Occupied France. But as important as this assignment is, he has just
been borrowed from the Army by Leslie Howard to co-star with him in How-
ard's film production about the famous English fighting plane, the Spitfire.
Howard, an officer in the first World War, was too old for military service in
this one, but returned to England from Hollywood at the outbreak of hostilities
to help keep British film production alive during the emergency.

Richard Greene, who recently won his commission in the tank corps, was
given leave to make two films. Latest news from England reported that Greene
had been ordered to South Africa with his tank unit.

Tall, droll Ralph Richardson who, through such pictures as "The Citadel"
and "Four Feathers," was becoming almost as well known to American audi-
ences as he was in his native England just before the war broke out, is a flight
officer with the air arm of the British Navy. Shortly after Dunkerque, Rich-
ardson was reported to have been killed in action. This unhappy news later
was denied and Richardson is still on duty with the fleet.

Another British matinee idol, who only recently has become well known
over here, is Rex Harrison who made both "Major Barbara" and "Night Train"
while on leave from the RAF. Harrison's latest contribution to the entertain-
ment campaign is a stage production of "No Time for Comedy."

The production proposal most eagerly awaited by fans, "This Above All,"
co-starring Vivien Leigh and her husband Laurence Olivier, had to be
abandoned as an English project and transferred to Hollywood where Tyrone
Power and Joan Fontaine will do the starring roles. This was not because of
wartime emergencies but because of Vivien's impending motherhood. By the
time leave cbuld be arranged for Olivier, it was too near January, when Vivien
expects her baby.

PHOTOPLAY-MOVIE MIRROR'S

<Lx.clulive

Color Portrait Series:

Kette. Va.v'i.5

Starring, via the brilliant CBS Sun-
day night coast-to-coast broadcasts,
on the Gulf Screen Guild Theater;
appearing in the Warners' picture,
"The Man Who Came To Dinner"

page 25

C/LLvia de. -Ha.vLLLa.na.

Appearing in Warners'

"The Male Animal"

page 27

The /xonaLd /xeaaanl

Husband Ronald is now appearing

in Warners' "Kings Row"; wife

Jane Wvman in Warners"

"You're In, The Army Now"

page 30

(2katUi Royet

Appearing in Universale

"Appointment For Love"

page 32

photoplay combined with mo\ie mirror

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if Mailed

in the

United States

BUSINESS REPLY CARD

First Class Permit No. 180. Sec. 510 P.L.AR. New York. N. Y.

PHOTOPLAY CTT »™\

205 EAST 42nd STREET

NEW YORK, N. Y.

FEEL LIKE H HEEE HBOUT ERROT

says Olivia de Havilland

TVief0,e^il* '

\V1T

0^9

They were attracted to each other
when they first met. Then things
happened that made her call Flynn
"a selfish brute." But now . . .

OLIVIA was contrite, Olivia
wanted to make amends,
Olivia had learned the lesson
preached by John Doe— "Don't con-
demn your neighbor, try to under-
stand him." Olivia had condemned
Errol Flynn. "He's a bad-mannered
selfish brute," she'd stormed, not car-
ing who heard her.

"Now I feel like a heel," she wailed.
"Oh, not because I thought badly of
Errol. We all make mistakes about
people. But because I had to go yap-
ping my head off to anyone who'd
listen. In decency, I ought to round
them all up and tell 'em I was wrong,
but how can I?"

She looked so pretty in the period
dress of "They Died With Their Boots
Oh," the new Flynn-De Havilland
opus, that you concentrated with dif-
ficulty on her distress. Distressed she
unquestionably was, however. We
suggested she tell the story for pub-
lication, easing her conscience, giving
us a break and righting an injustice
all at a single blow. We could call it
"Livvie Done Errol Wrong."

"It's not funny, McGee," she said
absently, thinking it over. Then —
"All right, I'll do it. Call it 'With
Apologies to Flynn.' "

Olivia thought she knew Errol. Off
and on, over a period of eight years,

she'd played opposite him. They've
been screen sweethearts, they've spent
weeks on the same set, they've made
personal appearances together, she's
been charmed, bored and infuriated
by him. She didn't think he could
ever surprise her.

At seventeen Livvie captivated Max
Reinhardt, audiences at the Hollywood
Bowl and the Warner Brothers by her
performance as Hermia in "Midsum-
mer Night's Dream." Before going on
tour with the play, she was signed
by Warners. Flynn was signed in
England at about the same time.

The Reinhardt company was playing
Chicago when Livvie's phone rang one
day. A Warner man calling. "There's
a young Irishman coming through on
his way to the coast. Since you're
both under contract to Warners, how's
about meeting him at the station and
taking pictures together?"

Who, the Shakespearean actress?
"Certainly not," Olivia said crisply,
"it would be most undignified.' She
could almost feel Ellen Terry patting
her on the back for upholding the
traditions of the bard.

The tour ended, she returned to
Hollywood for the screen version. She
was green, she was shy, this was her
first hop from under the maternal
wing, she romanticized life and men.

TO IRENE ZARAT

On the set, when she wasn't working
she'd go off to a corner and sketch.
Once she felt eyes on the back of her
head and turned to find that they be-
longed to a tall smiling young man
who kept them on her with a trans-
fixed expression which confused her,
since she couldn't be sure whether he
was flattering or making fun of her.

"Well — " she thought, and made a
stab at going on with her sketch. Foot-
steps sounded behind her and the
young man dropped on one knee at
her side.

"I hope you don't mind my intro-
ducing myself. I'm Errol Flynn and I
was supposed to meet you in Chicago.
What's your telephone number?"

It really wasn't fair. Not with a
child. All he needed was a lance and
white charger and he didn't really
need them. Hewing to her own line,
however, the child didn't do so badly
after all. "I never give my telephone
number."

"Then you've got to have lunch with
me tomorrow."

"I eat my lunch alone."

"You'll have it with me tomorrow,
if it means I've got to knock a police-
man down."

She lunched alone next day, won-
dering whether maybe a policeman
had knocked (Continued on page 74)

photoplay combined with movie mirror

9fd

sj^

No runaway
marriage

for these two!

A pretty personal discus-
sion of a very personal sub-
ject by Bonita Granville
and her b.f., Jackie Cooper

BY KAY PROCTOR

Two, who say they won't, talk to two
who did: Bun and Jackie with recent
elopers Judy Garland and Dave Rose

BONITA GRANVILLE and Jackie
Cooper both love pointless stories
and thick red steaks. They both
have quick tempers and a genius for
saying the wrong thing at the wrong
time. And they both believe, heart
and soul, in old-fashioned weddings
with all the romantic trimmings.

"No runaway marriage for me,"
said Bun.

"Elope? Not me," said Jackie.

Both were quick to point out it was
their personal opinion they were ex-
pressing, not an indictment of recent
Hollywood newlyweds who had chosen
to dash off on sudden impulse to some
distant town and surround the mar-
riage ceremony with semisecrecy. If
others like Judy Garland and Dave
Rose, Gene Tierney and Oleg Cassini,
Kathryn Grayson and John Shelton
preferred eloping, then elopements
certainly were right for them. It
simply was a matter of how Bun and
Jackie, as individuals, felt on the
subject.

Immediately, too, they insisted they
were speaking about marriage in gen-
eral, not when, how, or even if they
themselves get married. Not only
have they never 'announced any mar-
riage plans, Bun and Jackie said, but
actually they never have made any
such plans. Cross their hearts!

"It's silly to talk about marriage
when we're not even old enough to
vote," Jackie explained. "Seems to
me it would be a smart idea if we
finished this growing-up business
first. After all, I've just turned
nineteen and Bun's even younger.

We've got lots of time ahead of us."
"Check!" Bun amended. "And
there's another reason — our careers.
Each of us happens to be at a pretty
important point in our professional
lives. If we are to win the success we
want, our first interest and considera-
tion must be for those careers, not
marriage. I don't believe you can get
married and then say: 'Well, that's
that; marriage will take care of itself
so now I'll devote myself to my
career.' Successful marriage doesn't
work that way, particularly for a girl.
It has to come first and neither of us
is ready as yet to pigeonhole our
screen work in a place of secondary
importance."

Jackie grinned. "Lady," he said,
"you said a smart mouthful!"

They do admit to being boy and girl
sweethearts and have been for well
over a year. Bun thinks Jackie is
tops, even if he does squander his
allowance in an atrocious fashion, and
Jackie rates Bun as aces, even if she
is disgracefully careless about being
late for appointments. And maybe,
when the time is right. . . .

BUN first met Jackie when she was
a giggly fourteen, during the mak-
ing of "White Banners." She got her
first nod from him on her fifteenth
birthday — a bottle of perfume for a
birthday gift. It was expensive per-
fume, too, in keeping with Jackie's
belief about doing things right if you
do it at all. Then, apparently, he
forgot anyone named Bonita Granville
was on earth. (Continued on page 75)

photoplay combined with movie mihror

With two lively females on his hands,
Ronnie calls his home "The Ronald
Reagan Home For Delinquent Girls"

BY IDA ZEITLIN

THE Ronald Reagans were chewing
the fat with a couple of friends.
Discussing some item, the other
wife said to her husband, "Oh yes,
that's the night you weren't talking
to me."

Jane turned on Ronnie. "Now see?
Now there!" she wailed. "Why don't
you ever not talk to me the way he
sometimes not talks to her?"

There you have the skeleton in the
Reagan closet. Nearing their second
anniversary, they have yet to stage
their first battle. This worries Jane.
"First, it's unnormal," she argues.
"Second, there's nothing I like better
than a good fight. Third, if you don't
fight, you can't make up — "

Reagan sees his wife's point. There
ought to be problems. There ought to
to be a reasonable degree of stress and
strain in adjusting oneself to the
marital pattern. The books say so.
He'd be glad to dig up a problem to
oblige the books, but thus far it's
eluded him.

He and Jane get along as amicably
since their marriage as they did be-
fore it — "The only difference being

that now, when I beat her, it's legal."

Of course this kind of talk is a lot
of mullarkey. Like everyone else,
they've had to adjust themselves to
marriage. It soon becomes clear, how-
ever, why these two slipped into
double harness without wrenching.
That they're crazy about each other
goes without saying. So are plenty of
newlyweds who weep and growl their
bewildered way through the first year.
The Reagans also have intelligence
and the kind of humor that's another
word for perspective. A former un-
successful marriage has intensified
Jane's sense of values. Most young
wives take their happiness for granted.
She. holds hers like a treasure in both
hands. As for Ronnie, what might
irritate other husbands amuses him.
"I'm the greatest comic round my own
house," marvels Jane. For instance —

"We don't belong to the golf club
any more," she'll inform him.

"Why not?"

"I got into a beef with the guy who
runs it and resigned."

Instead of barking, he chuckles.
They both know he'll go back and re-

join next week. Jane's counting on
it. This feminine quirk tickles Ron-
nie, in whom the comedy sense out-
strips the didactic.

Or she'll phone and say: "You're
going to be mad at me. I smashed a
fender."

"Are you all right?"

"Yup, but the fender's smashed."

"How did it happen?"

"Well, you know that street down
so-and-so where the stop sign is?
Well, I didn't stop."

Now there's nothing funny to Rea-
gan in careless driving. Nor to Jane
either. He knows she's apologizing
and he thinks the method of apology's
cute. So he skips the lecture and grins
at the cuteness.

A couple of times, he admits, he's
gone "like this," "like this" being
illustrated as a not too formidable
glower. "Then I get an eyeful of that
kisser and she blinks and looks all
of eight, so I find myself talking to
her like a father. Between you and
me," he added, regarding the kisser
across the table, "I have a sweet
nature." (Continued on page 77)

JANUARY, 1942

■

STRICTLY

Zanies Olsen and John-
son get smart with a
bathing beauty, same
technique as . . .

There's a thin one and a fat one.

We don't mean Abbott and Costello.

Yes, we do, too! That is, we want

to say Olsen and Johnson aren't

copycats . . . Well, you better read this

A LOT of people in a lot of places are going to think, when
they see the new screen team, Olsen and Johnson, in
"Hellzapoppin' " that they're 1942 editions of the 1941 hits,
Abbott and Costello. But the Olsen-Johnson team dates back
to 1914 when they met in a Chicago Tin Pan Alley and started
out on twenty-four years of vaudeville clowning to end up as
the stars of the smash New York stage hit, "Hellzapoppin'."

They did everything they could think of, the screwier the
better, to put their names before the public — milking cows on
Broadway, driving down Santa Claus Lane in Hollywood on the
Fourth of July. They succeeded. A great portion of the
American nation know them as prime comedians now; after the
release of their Universal picture, their laughs will be public
property.

Abbott and Costello date from 1930, made big-time in the
same fashion as Olsen and Johnson — i.e., by long hard one-
night stands in vaudeville.

It's a case of two plus two equaling four comedy geniuses.
It's also a case of four smart minds who've made a million
dollars selling corn.

JANUARY, 1942

. . . Abbott and Cos-
tello. But don't draw
any zany conclusions!

Christ-

How not to trim

mas tree this
is, you see, all
decked tor Christ-
mas morning with gitts
for you and all the crew.
What joys are now a-borning!
A girl named Day here has her say
and breathes a word of warning: Make
mem'ries stick, buy gifts that click, all
silly gimmicks scorning * No shoetrees, please,
or gloves that squeeze or perfumes light and airy.
No gold fish schools * Observe these rules and of pet
peeves be wary * Give games of chance, books of romance, bright

bags

the . -

gals Q

a I I
carry * And flashlights new or stem-
ware blue will make her Christmas merry *

iraine Day: Listen to
her and you won't give
gifts that are Christ-

LARAINE DAY, who just died out
of the Dr. Kildare series so that
she may go on to the heaven of a
big role in M-G-M's "Kathleen," has
a few weighty remarks to deliver on
the problem of what no girl wants
to find under her Christmas tree on
the morning of December 25.

Take last Christmas, for instance.
When Laraine started to husk
her presents, she attacked a parcel
wrapped in handsome paper and tied
with ribbon a rnile long and a yard
wide. Here, she thought, was going
to be something. She unwrapped and
she unwrapped; it was clear that she
had come to grips with one of those
humorists who gets a kick out of en-
closing a gift in more petticoats than
were worn by the Infanta of Spain.

Finally she got to the crux of the
situation; out of the last wrapping she
extracted — half a dozen green velvet
clothes hangers.

Hmmm. Miss Day's closet acces-
sories are all blue.

Oh, well, there were more packages.
There was a very important-looking
box done up with silver stars and
loops of cellophane. This she divested
with speed and lifted the lid off — guess
what? One of those wooden kitchen
gadgets with household needs ar-
ranged in two neat rows. You put a
colored peg in the hole opposite the
commodity you need from the grocer;
the well-known fact that Miss Day
lives with her family and that the
family has an adequate cook who
looks with suspicion on Laraine's do-
ing more than squeezing an orange in
the kitchen hadn't deterred one gift-
giver from ringing coins on a counter
without ringing the Christmas bell.

In rapid succession Laraine also un-
wrapped (a) a bottle of a perfume to
which she is violently antipathetic; (b)
one of those (Continued on page 88)

photoplay combined with movie mirror

your Christmas tree

BY FREDDA DUDLEY

JEFFREY LYNN, who's about to
have you applauding him loudly
in Warners' "The Body Disap-
pears," can be very explicit about his
pet holiday peeve: It's those ties.
Those no-time-but-Christmas cravats,
which he insists are dragged out into
the limelight of a haberdashery during
the one period of the year when The
Little Woman may be found lurking
with a bargaining eye around horren-
dous necktie and handkerchief sets.

Mr. Lynn tells about the sad case
of a theatrical friend who was given
a star-spangled tie by his honey pf
the moment He didn't want to hurt
her feelings so he wore the tie, but
when he was out of her presence, he
tried to preserve his standing in the
world of men by covering most of the
tie with an open palm. This hand-on-
chest gesture was misunderstood by a
sympathetic producer in New York to
whom the young man was applying for
a job and, so help me, the producer
gave the chap enough carfare to "go to
Phoenix and get cured."

Mr. Lynn's anonymous hero did
come west, but he finally took a job
in a walnut packing plant in lieu of
starving to death as a movie extra.
"On Broadway he would have been
great," says Jeffrey solemnly. "See
how a promising career was wrecked
by a dizzy Christmas tie?"

So, girls, take a man's advice and
don't try to make him a gift of neck-
wear. Let him buy his own and only
smile if the result resembles a cross
between a Mexican bull fight and wa-
termelon a la king.

Jeffrey also puts the hex on mili-
tary brushes. Seems that bristles
come in various grades of stubborn-
ness and your heart interest with the
violent mane isn't going to admire the
same brush that would appeal to the
Lothario with (Continued on page 88)

JANUARY, 1942

Saint Nick, you know, still likes to go down chimneys quite old-
fashioned * With bulging pack upon his back to answer notes im-
passioned * Suave Jeffrey Lynn herewith steps in to solve a
lady's puzzle * "When this I've read," he sadly said, "I'll wish
I'd worn a muzzle! * Yet, for the cause of Santa Claus.

I feel I should
spare all guys
ties, loud pro-
e d * So do
lady fair, and
*ch«

warning w cheap
cause regrets,
by New Year's
glamma pix make
girl friends tern-
luscious pose
seems stale compared with Mary "* Please heed these tips from Jeffrey's
lips (there's mistletoe a-swinging), just read below and you will know the
gifts to come a-bringing * and incidentally how to set those wedding bells a-ringing

be candid * To
from Christmas
test is demand-
take care, my
hark to further
penman sets all
they're shelved
morning * Those
haste to nix of
porary * each
of Jean or Rose

ONE of these days Brian Don-
levy is going to take a little
trip to Washington to get some
legislation passed in a hurry. The
project will be called the Quit-Fool-
ing-The-Kids Bill and will aim at
protecting the unsuspecting youth of
the land from such inspirational
poppycock as "Hitch your wagon to
a star."

The way Mr. Donlevy sees it, get-
ting the bill passed will be no trouble
at all. He will point to his own per-
sonal history and let his case rest.

Didn't Mr. D. hitch his wagon to a
star? Of course, he did. So what
happened? The frisky little comet
kicked over the traces and left him
stranded.

In fact, if you must know the truth,
it was a series of accidents and not
any hitching-wagons-to-stars that is
responsible for Brian's present plight,
a state of affairs against which, by
the by, he has no complaint.

According to Brian, himself, he was
supposed to be a girl, which was no
little accident as you may have gath-

The gentleman in question — Brian
Donlevy. He is an asset to Para-
mount's "Birth Of The Blues" . . .

hitch your wagon

ered if you are a Donlevy fan. A trio
of Donlevy pictures, "The Great
Man's Lady," "Birth Of The Blues"
and "The Remarkable Andrew,"
which you will be seeing soon, will
confirm your conclusion.

The bright star to which Brian
Donlevy hitched his wagon was lit-
erature, the hard -knit, real and
rugged brand that Mr. Ernest Hem-
ingway later got around to writing.
And it wasn't a case of wishing will
make it so. Hardly.

By the time he was fifteen and
ready for prep school he had a couple
of haversacks full of his writings,
including two unfinished novels, three
and a half gross of poems, a skeleton
of a play called "Tantamount," what-
ever that means, and a miniature
history of English literature with all
dates omitted so as not to confuse
young scholars.

"As a lad," Brian confesses, "I
hoped to become a writer. But my
folks didn't have the money to give
me the usual preparation, four years
at some ivy-league college. I could

He has an asset in his "Squirt,"
who is Mrs. Brian Donlevy to you.
He writes her sentimental poems

— to a star, or to any other gold-brick

adage. Hitch up instead with Brian Donlevy, who's

lived and learned. The guy has ideas!

BY JOHN R. FRANCHEY

see my way clear only by one route:
I would become a military man, get
stationed at some remote post and
thus find all the leisure a writer
needed."

He was halfway through St. John's
Military Academy when war broke
out. Being young, adventurous and
patriotic he volunteered and sailed
for France.

THE Donlevy war record, to the
publication of which he was no
party, is compounded of fact and fic-
tion and the devil take the hindmost.
To read the romance-ridden accounts
of divers writers, Brian Donlevy was
gyped out of a Congressional Medal
for bravery, the Order of the Purple
Heart and only Walt Disney knows
what-all else. Judging from these
awed historians, he was hands-down
the fanciest flyer in France.

But mention his war years to Don-
levy and he asks you in that vague,
poking way that he employs toward
strangers: "What was it that guy
Sherman said about war?" You

gather that he'd rather skip the whole
subject. Obviously, it's been a source
of embarrassment.

Well, after the Armistice he re-
turned to the United States and that
bright star of his. He tried for West
Point but had to settle for Annapolis.
There Papa Donlevy's son of Sheboy-
gan, Wisconsin, was no great shakes
as a student. But in nonnaval mat-
ters he did wonderfully by himself.

By way of proving that Noel Cow-
ard wasn't the only many-talented
man in circulation, he wrote the plebe
class musical, did several skits in his
show, sang a few songs and executed
a spot of hoofing.

An accident during sophomore year
revamped his life once more. He was
anchored in the infirrnary (laid low
by a dental infection) when he hap-
pened to pick up a newspaper. The
front page was filled with talk of dis-
armament and the scrapping of ships.
Naval men were quoted as saying
that the drop-off in tonnage would
leave the Academy with hordes of
unwanted (Continued on page 72)

Their Villa Donlevy, out Brentwood way,
is a charming manor house, part modern,
part Cape Cod and completely happy home

UIMU

THE CAST

Tommy Turner Henry Fonda

Ellen Turner Olivia de Havilland

Joe Ferguson Jack Carson

Patricia Stanley Joan Leslie

Ed Keller Eugene Pallette

Michael Barnes Herbert Anderson

Cleota Ha+tie McDaniel

He seemed like a nice specimen of tame

Fiction Version by NORTON RUSSELL

A Warner Brothers picture. Executive producer, Hal. B. Wallij.
Associate Producer, Wolfgang Reinhardt. Directed by Elliott Nugent.
From the play by James Thurber and Elliott Nugent. Screen play
by Julius Epstein, Philip Epstein and Stephen Morehouse Avery.

THE autumn sunlight was mellow
on the red-brick buildings of Mid-
western University. It, and the
smell of burning leaves, and the holi-
day feeling in the air, all spoke
eloquently of football. So did the big
banner over the wrought-iron campus
gates. It said, "Be at the Rally To-
night. Beat Michigan Tomorrow."

The Tommy Turners were having
people in that evening for cocktails
and a buffet supper, partly because
it was the night before the Big Game
and partly because it was Ellen
Turner's birthday — although Tommy,
having been married six years and
not having too good a memory at
any time, had forgotten that. He
came home about four-thirty, hum-
ming to himself and carrying chrysan-
themums and a bottle of rye.

Tommy Turner, at twenty -eight,
was rangy and bespectacled, with
clothes that hung indifferently on his
tall loose frame and a slight stoop to
his shoulders. In moments of stress
or deep thought — which was most of
the time — he had a habit of ruffling
his hair so that he looked like a
puzzled spaniel. He was Associate
Professor of English at the University,

but that morning Dean Damon, the
head of the department, had told him
it looked as if he'd be made a full
professor at the end of the term.

Ellen came in to find him putting
the flowers into a vase already too
fulL This didn't surprise her. She
knew the flowers weren't for her
birthday, because she'd asked Tommy
to get them, and she would naturally
expect him to put them in the least
suitable place. Ellen was pretty and
dark-haired and Tommy had won-
dered, when they were first married,
how in the world he had managed to
win her over the competition of Joe
Ferguson, Midwestern's great half-
back. After the first year or so, how-
ever, he seemed to stop wondering
and begin taking her for granted,
which bothered Ellen a little.

Joe Ferguson was coming to the
party tonight. It would be the first
time Ellen had seen him since her
marriage. He'd been living in Pitts-
burgh and doing very well — so well
that until this year he'd always been
too busy to come back for the Big
Game. And Ellen wondered if he'd
changed, or if he was still the same
big, handsome, vital Joe. . . .

"Oh," she said to Tommy, suddenly
remembering, "Dean Damon called.
Cleota took the message. She seemed
to think the Dean wanted you to go
over to his house and see him."

And that reminded Tommy, so he
told her about the full professorship.
When she had finished giving him a
congratulatory kiss, she said anx-
iously, "Have the trustees voted on
it yet?"

"No, but that's just a formality."

"All the same," Ellen said wisely,
"it's a good thing Ed Keller's coming
to the party tonight."

Tommy grumbled, "Why do we
have to have Ed Keller?"

"He's the most important trustee —
and Joe has to have someone to talk
football with."

Tommy sighed. Ed Keller was the
town's biggest real-estate agent and
most football-minded alumnus and
trustee. He was responsible for Mid-
western's stadium, which was the
biggest between Chicago and Cali-
fornia and which Tommy considered
a waste of money.

"Well," he said, "I'd better go see
what the Dean wants. Come along?"

The Dean (Continued on page 66)

sband. But, just like every other man, he wanted, just once, to roar like a lion

Looming large: Philip Dorn of M-G-M's
"Tartan's Secret Treasure"; a faultless actor
imported from Dutch films; six-footer hus-
band, for seven years, of a Holland miss

father a little one: Joan Fontaine of RKO's
'Suspicion"; witty, ambitious, clever per-
ton; possessor of a one-sided smile; pos-
sessor, too, of a husband named Brian Aherne

London street scene
starring Joan Bennett
in uniform for Fox's
"Confirm Or Deny"

Give the Bennett a hand!
She's said what a million women
wouldn't. Here's a masterpiece

6cf csfoGuu faJZAjuuaft~

hkai S itfibft mm umdi <k

REMEMBER the old refrain about,
"If I had a magic wand to bend,
' I'd wish seven wishes o'er the
land o' men?"

My first wish would be this: That
all men should cultivate a sensitivity
to mood. Then they'd never spoil a
lovely moment! You know, it's that
quality Spencer Tracy projects from
the screen to the nth degree. A qual-
ity based on thoughtfulness and con-
sideration— and that's getting all too
rare these days.

One day last spring, for instance, a
party of us drove up into the moun-

tains. The valley below was like a
floral carpet, brilliant with thousands
of lupines, poppies and those lush eve-
ning primroses. "Oh, but isn't it beau-
tiful!" exclaimed the girl in the front
seat.

"Yes," said the man absently who
was driving. "I like" — looking at the
car — "to test her accelerative speed
on different grades to see what she'll
do." And he stepped on the gas. The
scenery went by in a rushing blur.

And romance evaporated into the
air. The girl had been thinking of
marrying him. She quickly changed

her mind. "Why," she said, "he's the
sort of man who would kiss his wife
while she's balancing a check book
and scold her about extravagance in
the midst of making love to her! I'll
bet he sees every sunset behind a
sporting page."

It would be a wonderful world for
women if all men acquired that sense
for mood.

And if (Wish No. 2) they all sud-
denly burgeoned forth with the sense
of good grooming! Girls are just as
allergic to whiskers, baggy coats and
droopy socks (Continued on page 60)

photoplay combined with movie mirror

Hello to Barbara Stanwyck

who has more than a nodding
acquaintance with skis in Co-
lumbia's "You Belong To Me."
She makes a pretty cover; she
does a bit of interior decora-
tion here in a gray gabardine
ski suit with zipper-closed
pockets, a reversible jacket
and a lambskin coat that turns
itself inside out to be a
smart gray gabardine topper

;

Miss Stanwycn s

clothes designed by

EDITH HEAD

■

•c . •

jWff/^t

*0? ^\"v

^ ^^' _,«A «

Dress With Ideas: It's slate blue,
a bright note in any crowd. Its
cross-over bodice has four fabric
arrows finished with silver arrowheads.
Its corselet waistline and skirt with over-
lapped folds will have you cutting a
figure under the mistletoe. Miss Stan-
wyck pulls an all-one-color pose,
wears slate blue gloves and hat
and steals every fashion scene

JANUABY, 1942

Edith Head calls it a
negligee; we say it's a
triumph; Barbara Stan-
wyck wears it because' it's
pretty, it's pink and it
turns most any woman into
a siren de luxe. Over the
fitted satin foundation,
flesh-toned chiffon is
worked into a trailing
skirt, a fitted waist and a
collarless bodice with bal-
loon sleeves gathered into
a diverting inch-deep cuff.
It's a boudoir must and a
breakfast-table trump card

v* .-r^iiiww

-,■

-1

A silver-spo©»-in-rte-
mo«rHi touch, yours for the
buying of this whH» crepe
dinner dress, draped on
top to suggest a bolero,
decorated in a million-
dollar manner with sable
bands on its dolman sleeves,
I slit to the knee just to show
- your pretty ankles and make
people turn around. Miss
Stanwyck's ten-skin sable
Jnole and gold and Topaz
I jewelry finish things off in
irigh style, will keep audi-
ences busy looking at her
in "You Belong To Me"

In tke new...

If You're:

■»■'

ii1 ■ p^

Your Hollywood Prototype Is:

A blonde or a red-
head who can look
into a man's eyes in-
stead of at his necktie

A brunette and on the
tallish side

__,

A half-pint sprightly
blonde or redhead

A pocket-size vivacious
brunette

Madeleine
Carro

Psychologists would say
Your Animal Prototype Is

mmmmmmmm

A swan

■•- '■■■ "'

■■

Rosalind
Russell

;

A deer

A kitten

-f—

Olivia de
Havilland

■ ■' '—

A chipmunk

x II r II f U/ V 0 II I Use your head' +ake +his to hear+ and yo

••• ■- 11 L II U U • keep on ringing bells all through 19

>u'll
942

v4en Think of You As:

he personification of
erenity; a bit slow to
ccept advances; poised ;
Lire of yourself; ethereal

oftly feminine in ap-
earance, warm by na-
ure, smart-as-a-whip
alker on world events

i small warm person
ho's a lot of fun at a
arty but who needs to
e helped over curb-
rones on the way home

< lively little girl with
i glint in her eye, tongue
i her cheek and a ca-
tacity to keep the ball
oiling wherever she is

[

Your Make-Up Pitfall Is:

Looking too much like a
pink-and-white pretty.
Be sure your rouge and
lipstick have a vivid
orange tone in them and
don't get a too-pink pow-
der: you're a personality
not a pastel painting

Getting too dark a pow-
der shade. Be sure your
powder has a pink glow
to keep you from look-
ing too much like an
olive-skinned gypsy

Not having enough
angles in your face. Try
putting on your rouge
in a different pattern;
try wearing no rouge
and using a vivid
purple-toned lipstick

"■" m—w —

Not accentuating any of
your features. Concen-
trate on your eyes or
mouth, make them stand
out in your small face

Your Personality
Bugaboo Is:

Probably too much re-
serve. Smile a little
more often and once in
a while tell a good
story — on yourself

Probably being too in-
dependent. Never argue
too much and shun that
"club-woman" attitude

Probably being too much
the "pretty girl" type.
Try talking about the
price of aluminum the
next time your date gets
that abstracted look

— — — — ^—

Not being able to sit
still long enough. Turn
into a languid lady; don't
offer too many sugges-
tions; relax and tend
to your knitting and
we do mean knitting

Look Pretty In:

A chantilly black
lace blouse and
velvet skirt at twi-
light. Look pretty
in anything fragile
for that matter.
Black is a "best"
for you; white, a
next best; tweeds
something you
wear only on hikes

—

A red velvet
beaded jacket over
a black crepe dress.
Wear colors, any
and all of them;
try bizarre combi-
nations; let your
zany impulses go
when it comes to
buying your hats

"■ '

A Dublin green «£&■
corduroy suit and 4^\$
beret to match. r
You're pretty in
sweaters and skirts;
you're pretty in
pinafores; you're
beauteous in pale
pink — providing
it's not too frilly

A white jersey
Sunday-night sup-
per dress, made
peasant style, em-
broidered with gay
flowers. Black and
white makes you
look sophisticated;
a deep blue makes
you look cute-as-a-
button; jewel-
toned velvets will
start things going.
Take your pick!

• F

lV >

' 1

' \,

Ida's house is charming an<
comfortable; so is her devoted
husband Louis Hayward

She's been telling a lot of whoppers about herself for
ages. Now we're afraid we'll have to tell you the truth

At fifteen (yes, fifteen!) she
arrived with her mother (left)
in N. Y. en route to Hollywood
as "the English Jean Harlow"

She looked like this so they
said she'd be a Sex Draw. To-
day (below) she's pre-eminent

THE MAD LUPIJUO

THE first thing people will tell you
about Ida Lupino is that she's a
great actress and a charming
madwoman.

The next thing they will tell you
(whomever you ask), is that Ida is
a jitterbug, qualifying by saying that
she dances only one step, improvised
by St. Vitus. She has nervous break-
downs the way other people have the
common cold, if you listen to her
critics, being able to work one up
and have it before your startled gaze
on an instant's notice.

Ida's never thrown a nervous fit
for us, not once during the five years
we've known her. "Go ahead," we
said the last time we were at the
Haywards', "give us the works. Be
the mad Lupino."

"I'm not in the mood, dear," she
said, pushing a bunch of pillows
around behind her and settling back.
"Life's too pleasant." And it was,
and furthermore is for Mrs. Louis
Hayward, whose comeback is recent
and satisfying, whose house is charm-
ing and comfortable, whose husband
is amusing and devoted, whose health
on the whole is so offensively good
that she almost never thinks about
it, and whose conscience is pretty
clear about the stories she's told since
she came to Hollywood.

After all, Hollywood told some
whoppers about her, .too. They said
she was essentially a Hotcha Kid,
around 1934, a combination of Alice
White, Clara Bow and Jean Harlow.
Believe us. They said she was des-
tined to be the Sex Draw of the

JANUARY, 194i

BY HOWARD SHARPE

generation. They said she had a
"pert, up-tilted" nose, which is any-
thing but the truth. Ida's nose has a
curve, slight but indisputable. They
said she was beautiful, which it would
bore her to be.

We're afraid we must tell you the
truth about Ida, which is something
she has almost never told anyone
about herself. She had a good enough
reason, though it may sound puny
now in relation to her history. Ida's
only mildly crazy, which is to say
that she's too intelligent for her own
good, has a superabundance of nerv-
ous energy and has always — always —
been too young . . . But then, you
couldn't possibly understand without
knowing the whole story.

THE point is, she was born in 1918,
during a seven-hour air raid on
London, which means that she was
not quite fourteen when she played
the lead in Alan Dwan's premiere
English movie, "Her First Affair";
which means that she was incredibly
only fifteen when in 1933, as the al-
ready famous "English Jean Harlow,"
she arrived on the Cunard liner
Berengaria to take her place in Holly-
wood.

"I'm young, I admit it," said Ida to
the reporters. "But nevertheless I
have crowded into my short seven-
teen years of life a trifle more activity
— or shall we say experience? — than
most girls of (Continued on page 70)

A^s&A

a®&0^'

JILL LYNN — sister of the murdered
movie actress, Vicki Lynn — and
her fiance, Peg, the young Holly-
wood writer who had been trapped —
on circumstantial evidence — by De-
tective Ed Cornell, manage to escape
and to hide out on the Long Beach
waterfront. Haunted by the words
Cornell had spoken just before he
lost consciousness from Jill's blow —
"I'll get you sometime!" — they struggle
along from day to day, living in fear.
They know that even though there
had been three people under suspicion
— Robin Ray, juvenile actor who had
gone everywhere with Vicki, Harry
Williams, switchboard boy who had
had a crush on the young star, and
Peg himself — the facts as Ed Cornell
would present them could condemn
Peg.

But the day comes when there is
no food in the house, when Peg is
forced to leave their furnished apart-
ment and look for work. He finds
none, but during the day he suddenly
thinks he knows who murdered Vicki.
His suspicions, backed by facts he
now recalls, center on Robin Ray
whose shaky career could not have
stood the bad publicity that would
have resulted from Vicki's decision,
made just before her death, to throw
him over for Peg.

He rushes back to the apartment
to tell Jill, throws open the door
breathlessly. But the apartment is
empty. No one answers his call. . . .

I MUST have gone a little crazy. I
went into the kitchenette and
shouted her name. I walked all
around the apartment. I was shaking.
I'd never felt an emotion like this. I

This was the most fantastic game
two men and a girl ever played

BY STEVE FISHER

ILLUSTRATED BY SEYMOUR THOMPSON

haven't any word for it. I thought I
was going to start crying. I fumbled
in my pocket for a cigarette. There
weren't any. We'd run out of ciga-
rettes as well as food.

The apartment was so darned
empty! I tried to think. Where was
she? Now I saw something on the
chair. It was her corduroy skirt and
brown and white sweater. On the
floor there was a little wad of tinfoil.
I rushed to the closet and opened it.
The green dress was gone. She was
wearing her good dress. Perhaps
she'd left me! Maybe she was sick of
all this!
No!

I couldn't believe it. I wanted to
go out and search the streets for her.
But Long Beach was a big town. I
wouldn't have had a chance that way.
I sat as though I were made of
stone. The wind rustled the curtains
at the window and the radio across
the court was going. Perhaps Jill had
gotten a job. Maybe she had landed
a temporary position as a clerk in a
store. Sure, that was it. I felt re-
lieved. I got up and paced the room.
Maybe Jill was at the taxi dance
trying to make money for us. The
little fool! Would she do that? A
thing like that? It was possible. Any-
thing was possible.

Only, Dear God, don't have it that
anything happened to her. I'll do any-
thing you say, God, only make Jill
safe. Don't let the cops get her, God!
Don't let that happen. I'll go to church
every Sunday if you want, but don't
let the cops get Jill!

She was at the taxi dance. That was
it. Poor sweet kid, she'd be back any
time now. (Continued on page 61)

It was late afternoon and
the sun shone dimly on the
gray stone. Jill came out,
down the steps, into my arms

MR. and Mrs. Thin Man think he's the nicest son they
could find in a cabbage field; Asta thinks the same
admiring thoughts any worthy canine has about a small
boy, age four.

This one is, in particular, Dickie Hall who's the Nicky,
Jr., in the title above, the gay young blade from Brooklyn
who's now promenading through the Thin Man series
with Myrna Loy and Bill Powell. Hollywood — or rather,
Tallulah Bankhead — found him playing Bach and Bee-
thoven at three on the stage of Carnegie Hall to an
astounded New York audience. Being a lady with a smart
eye for promising young men, she wired the West Coast
and they did the rest.

The gentleman is slick. He keeps his light-brown hair
smoothed down, practices his piano every day, endeavors
to build up his muscles by exercise. The gentleman is
also popular. He eats lunch with Myrna — and Lana
Turner, when he gets the chance. But what could you
expect from a male who at the age of sixteen months sang
"Gold Mine In The Sky" over the radio?

Now that you've met him, you probably think just what
everyone who knows him does. That he's an enterprising
businessman, a heart-melter, a guy who's going places.

P. S.: He walks to work.

photoplay combined xoith movie mirror

THE TRUTH ABOUT STARS' SALARIES

By "FEARLESS

The statement made
after Ann Sheridan's
suspension was not true

Bill Holden had to fight
violently and verbally
to right money matters

Here it is for the first time — the candid
picture of the shrewd tricks, the boomerangs
that have built — and broken — Hollywood careers

MR. VICTOR MATURE was
hollering his wide, strong
lungs out. "They talk about
freeing the slaves, why don't they
free Mature?" he cried.

The cause of Vic's pain was his
stipend of four hundred and fifty
clams weekly. No so long ago Vic
was living in a tent, not because he
is wacky for tents but as a matter
of sheer rent necessity. Thus those
four and fifty shells laid on the bar-
rel head looked mighty pretty until
Hal Roach, who holds the Mature
contract, began going around the
corner and renting Vic out, his new-
est rental fee being 3000 clams (or
three thousand dollars if you will be
conventional about it) per week for
his labors in "Shanghai Gesture."

'Tis often thus in Hollywood. The
rich producer gets richer and the
poor actor takes what he can get. The
truth, the whole truth and nothing
but the truth about salaries in film-
dom is rarely even glimpsed. Come
each March and the income tax boys
in Washington do their bit toward
telling the world about Claudette Col-
bert's being the highest paid actress
for the past three years, what with
her tidy earnings of better than
$350,000 each of those years. From
the income tax lists you can see Gary
Cooper's $5,000 weekly, and Gable
and Lombard's supercolossal earn-
ings, and the neat fees several of our

JANUARY, 1942

leading directors tote home, and those
half to three quarters of a million
that this producer and that earn.
But the salaries that the "discoveries"
gather, the why of "bonuses" after
certain pictures, the gold that is made
on "loan-outs," these subjects are
never mentioned.

Yet it is because of the "bonuses"
and the "loanouts" and the "deals"
that the "discoveries" try to strike
while the box-office is hot. That was
why Ann Sheridan got rebellious
nearly two years ago. It cost her
plenty. It probably cost Warners
more. To save their pride, after keep-
ing Annie off the screen for a year,
they announced when they brought
her back that they didn't increase her
salary. Annie kept silent and let them
talk. But the statement was not true.
Ann now gets better than twice what
she got before her walk-out. Yet that
year's layoff did her harm. The
"oomph" publicity having died down,
she is virtually starting all over again
and must come through on sheer act-
ing ability, while Rita Hayworth
walks in with the sex sweepstakes.

Vic Mature is in that same "dis-
covery" class, just as William Holden
was not so long ago and before him
Fred MacMurray and Robert Taylor
and Buddy Rogers. The way things
have worked out for each of these
players illustrates much about all their
characters, just as as the way things

Pat Morison
almost got
strangled by a
good contract

Clark Gable's financial
ultimatum on "Gone
With The Wind" was
the reason why Vivien
Leigh was discovered

have worked out for Linda Darnell
versus Nancy Kelly and Brenda Joyce,
pnd for Veronica Lake versus Pat
Morison tells much about those vari-
ously beautiful dolls.

One hundred and fifty dollars a week
was what Fred MacMurray earned all
the way from his original click in
"The Painted Lily" straight up until
he made "Hands Across The Table"
with Carole Lombard, two years
during which he worked inces-
santly. Fred (Continued on page 82)

BRIEF REVIEWS

VINDICATES PICTURE WAS RATED "GOOD" WHEN REVIEWED
VV INDICATES PICTURE WAS RATED "OUTSTANDING" WHEN REVIEWED

Universal view of what's happening today in Occupied
France is "Paris Calling" with Randolph Scott as an R.A.F.
flyer and Elizabeth Bergner as the brown-eyed beauty
who knows all about politics — and French politicians

ACCENT ON LOVE— 20th Century-Fox: When
George Montgomery rebels against his life and his
marriage that can't be dissolved because of family
pride, he just ups and becomes a ditchdigger and
digs until he's straightened out all his problems.
Osa Massen, J. Carrol Naish and Cobina Wright
Jr. are all very nice, as is Montgomery, but the
story's too laden down with message to be very en-
tertaining. (Oct.)

y ALOMA OF THE SOUTH SEAS— Para-
mount: Dorothy Lamour is back again in Techni-
color and her sarong. Jon Hall is the native who
returns from the states with his new education to
take over his post as ruler and marry his betrothed,
Miss Lamour. But jealous Philip Reed has other
ideas. (Nov.)

ARIZONA BOUND— Monogram: A good old-time
Western about a marshal who solves a series of
stagecoach robberies. Three favorites. Buck Jones,
Tim McCoy and Raymond Hatton, band together
in this picture for some out-west shooting and rid-
ing. (Oct.)

BACHELOR DADDY— Universal: Baby Sandy
gets cuter with every picture and in this one she
makes up for a lot of unfunny episodes. Kathryn
Adams is Sandy's mother and she sends the child
to Edward Everett Horton, Raymond Walburn and
Donald Woods to keep while she's involved with the
law. It isn't very funny. (Oct.)

y BADLANDS OF DAKOTA — Universal:
Straight-shooting Western, with Robert Stack as
the Easterner who marries his brother's (Broderick
Crawford) fiancee, Ann Rutherford, which starts
all the rumpus. Richard Dix is Wild Bill Hickok,
Frances Farmer is Calamity Jane, and Addison
Richards is Custer. (Nov.)

BARNACLE BILL— M-G-M: Rough-and-ready
fun, with Wallace Beery as an old waterfront rap
scallion always in trouble until his daughter Vir-
ginia Weidler succeeds in reforming him. Marjorie
Main lends a willing hand to the process. (Oct.)

y BELLE STARR— 20th Century-Fox: The no-
torious woman bandit of the 1860's has been so
whitewashed that much of the punch of the picture
is lost. Gene Tierney plays Belle, who turns out to
be a gently bred Southern :^irl who attempts to re-
fight the Civil War. She marries Southern rebel
Randy Scott and participates in his escapades until
she finds out his cause is only a front for thieving
and killing. (Nov.)

y BIRTH OF THE BLUES— Paramount : In this
good-natured, easy-going movie, Bing Crosby, a
Southern lad, finally rounds up the first white band
to play blues music and, through the aid of Mary
Martin's singing, gets a hearing. You'll like every
minute of it, the music and the cast, which includes
Brian Donlevy and Rochester. (Dec.)

BLONDE FROM SINGAPORE, THE— Colum-
bia: The ever-present jewel thieves are here again
in this tired plot, with Florence Rice as a scheming
actress who swipes the pearls from Leif Erikson and
Gordon Jones, and then sets out to win Alexander
D'Arcy, only to find herself in a spot. (Nov.)

BLONDIE IN SOCIETY— Columbia: The Bump-
steads get in a jam again when Arthur Lake accepts
an enormous great Dane dog but promises not to
place it in a dog show and Penny Singleton un-
knowingly enters it in a show. It's a lot of fun.
(Oct.)

BURMA CONVOY— Universal: Fast-moving,
timely melodrama about the truck caravans bring-
ing supplies along the dangerous Burma Road.
Charles Bickford is the leader of the truck drivers,
Frank Albertson his younger brother, and Evelyn
Ankers provides the heart interest. (Dec.)

yy CHARLEY'S AUNT— 20th Century-Fox:
'Charley's Aunt" gets funnier with every genera-
tion. Jack Benny as the Oxford student who is
forced to play the aunt of a fellow student is at his
funniest. Complications set in when the real aunt,
Kay Francis, shows up. See it for laughs. (Oct.)

yy DIVE BOMBER— Warners: Timely, in
formative, and entertaining is this picture about
the experimental work of flight surgeons in the
Naval Air Corps. A feud between Errol Flynn and
Fred MacMurray is the framework for beautiful
aviation shots. Alexis Smith registers as a comer,
and Ralph Bellamy and Regis Toomey lend grand
support. (Nov.)

y DR. JEKYLL AND MR. HYDE— M-G-M:
Although this is its third screen version, it's a
gripping, compelling, interesting picture. Spencer
Tracy as the scientist overai I every i w and then,
I ana Turner is beautiful, but it's Ingrid Bergman
who walks nil with the movie. I, Dec.)

y DR. KILDARE'S WEDDING DAY— .M-G-M:
The sudden, tragic death of Laraine Day, fiancee
of Dr. Kildarc, on her wedding day comes as a

i'arring shock. Through the comfort offered by
,ionel Barrymore as Dr. Gillespie, Lew Ayres as
Kildare is finally able to return to work after his
grievous loss. Nils Asther is very good. (Nov.)

ELLERY QUEEN AND THE MURDER RING—
Columbia: Ralph Bellamy is again the famous de-
tective who solves some murders in a hospital, but
it's the side-splitting performance of two dumb
bunnies, Paul Hurst and Tom Dugan, who play
their roles straight, that provides riotous fun. (Dec.)

• FATHER TAKES A WIFE— RKO Radio:
Gloria Swanson's return is the biggest news of this
picture, and it's good news indeed. She's perfectly
cast as the stage star who retires to marry Adolphe
Menjou, expecting a life of peace. Instead, Adolphe
turns out to be a playboy and his son, John Howard,
is the serious-minded one. (Oct.)

FLYING BLIND — Paramount: Loads of noise and
thrills and romance are packed into this thriller
about spies and intrigue on a honeymoon air ex-
press. Richard Arlen is the pilot who neglects his
romance with Jean Parker until they find themselves
in a plane with villains Roger Pryor and Nils
Asther, and daffy bride Marie Wilson. (Nov.)

FORCED LANDING— Paramount: Richard Arlen
is the hero aviator of this bang-up little movie that's
crowded with action. When enemy agents attempt
to wreck defense constructions, Dick steps right in
and plays havoc with them. Eva Gabor, a beautiful
blonde newcomer, provides the love interest. (Oct.)

GENTLEMAN FROM DIXIE — Monogram :
When Jack La Rue is released from prison he
returns to his brother's stock farm down South
where he finds villainous John Holland, who origi-
nally framed him. Marian Marsh is his brother's
wife, and little Mary Ruth, who's an accomplished
musician, is her stepdaughter. (Dec.)

yy HERE COMES MR. JORDAN— Columbia:
This is one of the most delightful and imaginative
stories ever to hit the screen. It's all about how
heaven makes a mistake and takes Bob Montgom-
ery's soul before he's due to arrive there, so they
have to find him a new body to inhabit. Edward
Everett Horton, James Gleason and Claude Rains
are wonderful. (Oct.)

y HERE IS A MAN— RKO-Radio: Here's a pic-
ture that for sheer novelty takes its place among the
best of its kind. James Craig is the young farmer
who sells his soul to Satan, symbolized by Farmer
Walter Huston, and then tries to get out of his
bargain. Edward Arnold is Daniel Webster, Simone
Simon the devil's henchwoman and Anne Shirley
is Craig's devoted wife. (Oct.)

yy HOLD BACK THE DA WN— Paramount:
Suspense, drama and love abound in this picture
about the struggle by immigrants to enter the
United States from Mexico. Charles Boyer is an
immigrant who marries schoolteacher Olivia de
Havilland in order to gain entry into the States and
Paulette Goddard is the foreigner who attempts to
weave Boyer into her schemes. (Oct.)

y HOLD THAT GHOST— Universal : You won't
care what Abbott and Costello are up to as they
wend their way from waiters to gas station attend-
ants to heirs of a deserted, haunted gambling house,
because they're man-sized panics all the way through
the hilarious nonsense. (Oct.)

HURRY, CHARLIE, HURRY— RKO-Radio:
Very funny in spots is this Leon Errol comedy,
with Errol inviting the Vice-President of the U. S.
to a party and three phonies plus the real V. P.
show up. (Oct.)

KID FROM KANSAS, THE— Universal : A
blight, sabotage, and all kinds of trouble hit the
banana plantation of Leo Carrillo; and Andy Devine
and Dick Foran receive the blame for it all until
Foran escapes from jail and uncovers the real
rascals. A lot of action is mixed up in the story
and the trio of actors do right well. (Dec.)

yy LADIES IN RETIREMENT— Columbia:
This famous stage play is superbly translated to
the screen with a never-relaxing suspense. Ida
Lupino is mainly responsible for its compelling
quality of repulsion and sympathy, as the com-
panion who ruthlessly murders to provide a home
for her mentally ill sisters. Louis Hayward, too,
rates honors, as does Evelyn Keyes as the maid,
and Edith Barrett and Isobel Elsom. (Dec.)

yy LADY BE GOOD— M-G-M: It's a parade of
star personalities through a Gershwin musical, with
Ann Sothern and Robert Young as a song-writing
team who hits the divorce courts twice before things
work out. Eleanor Powell. Dan Dailey Jr., Lionel
Barrymore, Red Skelton, John Carroll and others
all add to this big-time musical. (Oct.)

LADY SCARFACE—RKO Radio: Packages of
money mailed to a New York hotel and picked up
in error by honeymooning Rand Brooks and Mildred
Coles motivate a lot of chasing around. (Oct.)

yy LIFE BEGINS FOR ANDY HARDY—
M-G-M — Andy grows up the hard way when he
takes a fling at earning his own living in New
York; and hunger, a golddigger, and the tragic
death of a friend teach him a much needed lesson.
Mickey Rooney is tops as Andy, as is Judy Garland
as the annoying girl friend. Pat Dane and Ray
McDonald rate plenty of raves. (Nov.)

photoplay combined with movie mirror

uV LITTLE FOXES, THE— Goldwyn RKO
Radio: An Academy Award contender is this grip-
ping tale. Bette Davis as the ruthless Regina holds
her own with such members of the New York stage
cast as Patricia Collinge, Charles Dingle and Dan
Duryea. Herbert Marshall is perfect as the sick
husband and newcomer Teresa Wright is a coming
star. (Nov.)

\S LOOK WHO'S LAUGHING— RKO-Radio:
Laughs follow one after the other in this un-
sophisticated comedy about a radio entertainer,
Edgar Bergen, who with Charlie McCarthy lands
in a small town where he helps Fibber McGei md
Molly defeat a couple of lancf sharks. Lucille Ball
and Neil Hamiton add to the fun. (Dec.)

<S\/ LYD1A — Korda-U.A. : Different, fascinating
and heart-warming is this flashback review of the
suitors in one woman's life. The men who loved
Merle Oberon but failed to win her are Joseph Cot
ten, George Reeves, Hans Yaray and Alan Mar
shall All give fine performances. (Nov.)

y MANPOWER— Warners: George Raft and Ed-
ward G. Robinson are tough power line repairmen
who fight it out for the affections of B girl Marlene
Dietrich. When Marlene's father is killed, Robin-
son marries her, but she falls in love with Raft. The
power line repair scenes are excellent. (Oct.)

MEXICAN SPITFIRE'S BABY— RKO-Radio:
When Leon Errol has a little war orphan brought
over from Europe, he hopes it will fix things up
with the troubled marriage of Lupe Velez and
Buddy Rogers. The baby turns out to be a glamour
girl, but the story gets duller and unfunnier. (Dec.)

MR. CELEBRITY — Producers Releasing Corp. : A
young veterinarian. James Seay, takes his nephew,
Buzzy Henry, to Celebrity Farm to hide out from
his grandparents and so retain his custody. There
he encounters Francis X. Bushman, Clara Kimball
Young and Jim Jeffries, who'll bring you nostalgic
memories. It's sentimental, but lively and heart-
warming, and young Buzzy is outstanding. (Dec.)

MURDER BY INVITATI ON— Monogram: Al-
though this thriller has the same old plot of heirs'
trying to get a millionairess declared insane, it's
fast-moving and suspenseful. Wallace Ford is the
columnist who solves the murders and Marian
Marsh is his assistant. (Oct.)

\/ MY LIFE WITH CAROLINE— RKO-Radio:
Light, sophisticated comedy about a husband's ef-
forts to keep his wife from eloping with various
admirers, including Gilbert Roland and Reginald
Gardiner. Anna Lee is the fiuttery, attractive wife,
although why she should want to leave husband
Ronald Colman is beyond us. (Oct.)

\/ NEW WINE — Gloria Productions-!'. A.: Alan
Curtis plays composer Franz Schubert who is aided
and encouraged by Ilona Massey. Although the
story is inconsequential, the glorious flood of music
and Ilona's beautiful singing of the "Ave Maria" are
well worth your time. Albert Basserman contributes
a memorable scene as Beethoven. (Oct.)

\S NEW YORK TOWN — Paramount: Fred
MacMurray, a sidewalk photographer in New York,
shows naive New Englander Mary Martin how to
live off the town. But when he tries to marry her
off to prosperous Robert Preston, he learns that all
the best things in life are free. Akim Tamiroff and
Lynne Overman aid MacMurray in this enchanting
comedy. (Nov.)

NIAGARA FALLS— Roach -U. A.: In spite of Slim
Summerville and Zazu Pitts' determined comedy
efforts as the honeymooning couple who come to
Niagara, the picture's not funny. Slim neglects his
bride to meddle in the affairs of quarrelsome Tom
Brown and Marjorie Woodworth. (Dec.)

y NOTHING BUT THE TRUTH— Paramount :
In spite of its bewhiskered story, Bob Hope makes
this picture a laugh-provoking winner. He bets
$10,000 of Paulette Goddard's money that he can
tell the truth for twenty-four hours. Howls of
laughter are the result. (Nov.)

OFFICER AND THE LADY. THE— Columbia:
Rochelle Hudson is a pretty schoolteacher who re-
fuses to marry Bruce Bennett for fear he'll be
killed in a gun battle. He almost is, too, when gang
ster Sidney Blackmer escapes from prison. (Oct.)

\/ OUR WIFE — Columbia: All about one husband,
Melvyn Douglas, and his troubles with two women,
one an ex-wife, Ellen Drew, and the other his fiancee,
scientist Ruth Hussey. Charles Coburn is Ruth's
father, also a scientist, and John Hubbard her non-
scientific brother. It's got a lot of laughs. (Nov.)

01 I LAWS OF THE DESERT— Paramount: The
Araban desert background of this colorful and
::il Western is vivid and exciting and the
'cries of adventures that involve Bill Boyd as
//. palong ( assidv and his pals, Andy Clyde and
Brad King, provide fast-moving entertainment.

OUTLAW TRAIL. THE— RKO-Radio: Intend-
ing to aid in a bank robbery, young Tim Holt turns
hero instead when he a ds the marshal in catching
the robber band and when the marshal dies, Tim
takes over his job and stays a good boy from there
on it. Fans are sure to like Tim. (Dec.)

PARACHUTE BA77ALIUK— RKO-Radio: An

JANUARY, 1942

interestingly done movie of (hose lads who leap from
planes in Uncle Sam's behalf. All sorts of boys
who enter the service are revealed in the unfolding
of the story, including Robert Preston as the cocky
recruit and Edmond O'Brien as the boy who fears
fear. Nancy Kelly is the girl. (Oct.)

PITTSBURGH KID, THE Republic: The usual
prize-fight picture, this, relieved in its mi m ti m us
plot by the casting of Jean Parker as the manager
of fighter Billy Conn. You're going to bi
surprised at Billy, who's not half bad as a screen
personality. Jean's a cuti trick, too. (Dec.)

REG'LAR FELLERS— P. R. C. : The cartoon-
strip characters, plaved by Billy Lee, Alfalfa
Switzer and Buddy Boles, are back again for an-
other series of fun. It's a picture for kids. (Nov )

RINGSIDE MAIS1E—M.GM: Weakest in the
series is this installment, with Ann Sothern as the
good-hearted taxi-dancer, Maisie, who meets up with
prize fighter Robert Sterling and his suspicious
manager, George Murphy. Young Sterling takes
over most of the picture and there's not nearly
enough of Maisie. (Oct.)

SCATTERGOOD MEETS BROADWAY— Pyra
mid-RKO: Scattergood Baincs. the smalltown Mr.
Fix-it played by Guy Kibbee, helps William Henry,
the village playwright, outwit Frank Jenks and
Bradley Page and present a smash Broadway suc-
cess. Its homey flavor is .embellished by some
bright comedy and corny but good gags. (Nov.)

SING ANOTHER CHO R US— Universal : Johnny
Downs, aided by Jane Frazee, tries to get his col-
lege show on Broadway, but villainous Walter
Catlett and his voluptuous co-worker, Iris Adrian,
throw a monkey wrench or two into the works.
The music is fair. (Dec.)

SKYLARK — Paramount: Claudette Colbert is the
dissatisfied wife who leaves her devoted husband,
Ray Milland, because his business entanglements
prove too annoying, but that's a silly premise for
this day and age. Brian Aherne is miscast as the
other man in her life, but Milland and Walter Abel
win our hearty approval. (Dec.)

L/' SUNDOWN — Wanger: Sustained action is the
keynote of this story of a British government out-
post m Africa. Bruce Cabot as Commissioner of the
post steals most of the honors, and George Sanders
also shines, as does Gene Tierney as the beautiful
half-caste. Reginald Gardiner, as usual, went along
for the laughs. (Dec.)

\S SUN VALLEY SERENADE— 20th Century
Fox: Sonja Henie is a Norwegian refugee adopted
by band player John Payne, who's in love with
Lynn Bari, the band singer. When the orchestra
goes to Sun Valley, Sonja goes along, determined
to marry John. Sonia's enchanting and her skat-
ing numbers are excellent. (Nov.)

yy SUSPICION— RKO-Radio: A triumph of
direction and acting is this emotional, suspenseful
masterpiece about a naive English girl, Joan
Fontaine, who falls in love and marries Cary Grant,
only to discover his worthlessness. Then dread and
suspicion enter their lives and desperation brings
on fearful consequences. (Dec.)

TANKS A MILLION— Hal Roach-U.A.: Running
about fifty minutes, this small-sized panic is all
about a draftee, a former railway information clerk,
William Tracy, who annoys his superior officers by
spouting from memory long passages from the Army
manual. James Gleason is the enraged officer and
Elyse Knox the eye-filler. But it's Private Tracy's
picture. (Nov.)

THIS WOMAN IS MINE— Universal: Lus-
cious Carol Bruce is a stowaway on a trading ves-
sel during the 18th Century with John Carroll,
Franchot Tone anil Walter Brennan all on the ship.
The only exciting moments in the picture are the
last scenes depicting the conflict between the Indians
and the white men. Otherwise it's completely un-
inspired. (Nov.)

TILLIE THE TOILER —Columbia: First of a
new series, this introduces Kay Harris, who is pert,
pretty and talented and makes an ideal Tillie. Wil-
liam Tracy is Mac, Jack Arnold the smug Mr.
Whipple, and Daphne Pollard Mumsy. It flounders
around a bit due to poor writing and direction, but
give lillie time. (Nov.)

TOM, DICK AND HARRY -RKO-Radio: Cm
ger Rogers is the little telephone operator whi
choose between three suitors, business genius
George Murphy, zany, poverty-stricken Burgess
Meredith and rich Alan Marshall. Ginger dreams
of her future with each and her dreams are price-
less fun. You'll love it. (Oct.)

TWO LATINS FROM MANHATTAN — Co-
lumbia: Trite, corny and uninspired is this story of
a night-club press agent, Joan Davis, wdlo substitutes
her roommates Jinx Falkenburg and Joan Wood
bury, a song and dance team, for two Cuban
tainers who failed to arrive. ()i ihing

gets very complicated. (Di I

y UNFINISHED BUSINESS — Universal:
You'll undoubtedly enjoy this gay movie about
smalltown girl Irene Dunne who meets and falls
in love with debonair Preston Foster who promptly
forgets her. Out of spite she marries his brother,
Rob, it Montgomery, but she can't forget Fo ter,

who is the outstanding performer of this picture.
(Nov.)

\S 111- 1 IN IIAU.U Century-

Fox: Frothy, gay and tuneful is tin- typical Zanuck
musical, pleasing to the cms and ears. The
featherweight | New York shop girl Alice

Faye enjoying a Havana vacation at the
i .i teamsni] com] ny and a roman
executive John Payne. Carmen Miranda's
in hoi pepperish .md Cesar Romero is her flirta-
tious manager. (Dec.)

l/V WHEN LADIES MEET— M-G-M: A star
studded picture, (his, smart and entertaining.
Robert Taylor is in love with authoress Joan Craw-
ford who is in love with publisher Herbert Marshall
who is married to Greer Garson with obvioi
plications. Both (he girls do splendid jobs, but Bob
Taylor walks away with every scene. (Nov.)

1/ WHISTLING I\ i ill' DARK M-G M

M G M's new priz< comedian Red Skelton is intro-
duced to you in this comedy, and Skelton proves

himself a prize indeed as (he radio crim
writer who's kidnapped by Conrad Veidt in order

a perfi i ■ nine for Mr. Veidt. U
we admit, but it's funny and gay. (Nov.)

WILD GLV.SI CALLING— 20th Century-Fox:
Henry Fonda is the boy with wanderlust who
mills Joan Bennett, waterfron! chorus girl, and
marries her. But he follows disreputable Warren
William to Alaska and meets disillusionment before
he finally finds contentment. It's slow and aimless
and dull, and loan Benmtt is thoroughly miscast.
(Nov.)

WORLD PREMIERE— Paramount: John Barry
more is a movie producer who takes the cast of
his movie, including Ricardo Cortez as the star
and Virginia Dale the heroine, to Washington for
the world premiere. A couple of saboteurs ^r:
mixed up with the troupe, but Barrymore happily
believes it all a publicity stunt. It should be funny,
but it turns out to be very unfunny. (Nov.)

\/ YANK IN THE R.A.F.. A— 20th Century Fox:
An exciting and timely show, with Tyrone Power
as the fearless, cocky American who joins the
R.A.F. and woos night-club dancer Betty Grable on
the side. The scenes in the R.A.F. provide tre-
mendous interest, and Reggie Gardiner and lolm
Sutton are very good. (Dec.)

.'*

All that glitters is not gold; sometimes
it's tinsel, as is the case of Christmas
Girl Constance Moore. That gleam in
her eyes probably came from being
gifted with presents like those wished
for by Laraine Day on page 34

btaJi vwAb

IN THE STORES

BY MARION

BEAUTY IN A NUTSHELL: Dorothy
Gray's Nut-Brown Red harmonized
make-up. Brown-red lipstick, nail
polish, rouge, harmonized box of
face powder — all for only $2.50.

SIGNATURE BRACELET: For the

girl who has everything, a sterling
hand-etched bracelet bearing her
signature in her own handwriting.
Found at B. Altman, N. Y., $7.50.

FOR BOTH OF THEM: Yardley's
Combination Gift Set makes an
ideal present for the married couples
on your list since both of them will
want to use it. Priced at $3.35 the set.

JUST PICTURE IT: Even beginners
take perfect indoor shots with East-
man's new camera — Brownie Reflex
Synchro Model. May be used with or
without flash attachment. About $9.

DESK DECOR: Farragut Lamp for
nautical readers $2.50; Anchor
bookends with a sea-going air $2.50;
Three Anchors ashtray $ I a pair.
Chase Brass & Copper Co.

FOR HIM: He'll wear his initials
with pride if you give him Artisto-
gram's gold-plated cuff links by
Swank. They cost $1.50 a pair at
leading stores or Wanamaker's, N. Y.

Things I Wish Men
Would Do

(Continued from page 44) as men are
to the unfair skin and rundown heels the
ads are constantly reminding us about.
They want us to be fastidious — why not
return the compliment? It's like the re-
mark May Robson once made about
Douglas Fairbanks Jr. '"He could be a
castaway on a desert island and he'd still
honor any co-castaways with his neat-
ness . . . even if he had to de-whisker
with a pickax!"

My next wish has to do with the mem-
ory of an evening a group of us enjoyed
so immensely — when Charles Boyer or-
dered dinner. Perhaps it's because he has
a Frenchman's flair for fine food but
everything about the meal was so right.
If only all men had the same knack!
"What if the earth is topsy-turvy," said
a fellow-guest, "there's no moratorium
on good cheer and good eating while
Charles is around!"

Fourth Wish: That men would show
more appreciation and not take for
granted everything you do to please
them. It's funny about women. Nothing
is too difficult for them if a man really
values what they do. There's an old
couple living in the Valley, for example,
who have never had much money. But
contentment rests in that place almost
visibly. "In all the years we've been
married," the wife told me one day when
I stopped to get eggs from them, "he's
never forgotten to say 'thank you.' No
matter how small the thing is I do for
him. I've worked hard in my time. But I
never minded because he appreciated so
much what I did." And that's the answer
to a lot of happiness for a woman.

I WISH men would take the trouble to
■ grow up. In their ideas, their customs.
There may be a certain boyish appeal
about the perennial sophomore, but no
girl wants to spend the rest of her life
being his rooting section! He's bounded
on the north by the stock market and on
the other three sides by golf, poker and
the paper. That is as far as his vision
goes, until he decides to be adult. Then
he looks beyond himself and discovers
the world!

Wish No. 6 depends on a man's being
mentally matured. (If he isn't, it's just a
waste of time!) This is it: That he'd
go on the assumption that women have
an opinion of their own, especially on
outside affairs of importance. Such as
Fredric March does, for example. At a
reception recently, a politician and his
wife were talking to Freddy. That is, the
politician was talking until Freddy ma-
neuvered the conversation around so the
wife had a chance. He drew her out,
listened attentively. What she had to say
was brilliant and thought-provoking. Her
husband heard her with amazement.
"Why, those are good ideas," he admitted.
"And I never knew you had 'em!"

"You never bothered to find out!" she
countered.

Perhaps it all sums up in the seventh
wish — to have the whole male contingent
put chivalry back on earth. Most men
act as if they had the vitality of a ven-
triloquist's dummy when it comes to
everyday acts of courtesy. Taking off
their hats, rising when you enter a room,
offering to light your cigarette and re-
membering to open and shut a car door.
They'll ask you to dance when they can't
dance — except on your feet. After all, it
isn't the dragons a man slays that matter.
It's the little things he does that make
a girl want to keep her nose powdered!
The End

photoplay combined u-ith movie mirror

(Continued jroin page 54) We would
have fun when she got back. It wouldn't
even matter if we didn't eat. Just so
she was here. There was no night with
Jill and no darkness. You can love a
woman and it's like that. I love every-
thing about her. She'd come in and I'd
laugh. I'd say, "Hello, honey. Gee, you
look swell, honey!"

I sat down on the bed and laid the cards
out in a game of solitaire. But I couldn't
play. It was getting late. Where was
she? I got up and went to the window.
Where are you, Jill?

I could stand it no longer and I left the
apartment and went out on the street.
The main avenue was a quarter of a block
up and this street was dark and empty.
I leaned against a big palm tree.

I stood there very quietly against the
tree. I don't know how long I was there.
Suddenly I was aware that a car had
slid up to the curb and stopped. It was
a radio patrol car!

The cops in it didn't see me there in
the dark. They were staring into the
court. My heart began to hammer. Why
were they here? What were they doing?

The cops didn't even glance my way.
I began to make out what they were
saying.

"See anything?"

"No. This is a pain in the neck — hav-
ing to check back here every hour."

"Yeah."

"They had a detective in there until
six o'clock. If he was coming back he'd
have been back before then."

"Sure."

"Like the girl said — he must have
shipped aboard that foreign tanker that
left last night."

"Yeah. He was the kind of a heel that'd
do that — take a powder on the girl. Say
— the lights are on in that apartment!"

"He must have come back. Come on!"

They piled out of the car and rushed
into the court. Sweat was rolling off
my body and for a moment I couldn't
move. Jill's arrested! Jill's arrested! I
heard it over and over. It was a scream-
ing that echoed in my head.

I BEGAN to run. I ran up the street,
■ cut through back yards. I ran down
another street, then I got into an alley.
In the alley I stopped running.

I walked. I walked along the dark
streets and on the bright ones. I walked
through the park on Ocean Avenue and
sat under the city lights. In a big wire
trash barrel I found a newspaper.

The headlines were big and black. Jill
Lynn arrested. Police close in on fugi-
tive hide-out. The paper said I had de-
serted Jill last night and gone to sea on a
tanker bound for Brazil.

I read all the details carefully. The po-
lice had worked on the theory that we
were somewhere in Long Beach. First
they had painstakingly checked all re-
cent hotel registrations. This job alone
had taken almost three days. After that
they had begun checking tenants who had
rented apartments recently. They had
third-class detectives all over town do-
ing this and in the course of the sur-
vey one of them had come to our
apartment.

Jill had been calm. The paper report-
ed her only emotion had been one of
bitterness. The money had run out and
I had left her. The woman scorned. She
was apparently ready to talk. They
played that up big.

She was to be charged with aiding the
escape of a fugitive from justice, and
assault with intent to kill on an officer
of the law!

That was Ed Cornell's touch. He knew

JANUARY, 1942

I Wake Up Screaming!

as well as I did that she hadn't intended
to kill him!

There were pictures of the corduroy
skirt and the sweater which were of no
material value and had been left for the
photographers. The tinfoil I'd seen had
been from an exploded flashlight bulb!

I skipped over all the rest. It didn't
matter Jill had lied to protect me. She
had kept her head and put on a wonder-
ful show. All for me!

I thought of Ed Cornell. The way
he had watched me. The way he had
tormented me for weeks. Now he was
spewing his bitterness on Jill. Assault—
with intent to kill!

I dropped the paper. I began to walk.
I was cold with hatred. I was scarcely
conscious of anything else. I was going
to Los Angeles. I was going to steal a
car from a parking lot and go to Los
Angeles.

I HAD parked the stolen car and for a
' long time I stood there on the hill and
watched Robin Ray's house.

Then I moved silently across the road
and my shadow was pale in the moon-
light. I reached the side of the house and
began to climb up along the stones. I
made no sound at all. When I was at the
window I slashed down at the screen
with a jagged piece of rock. It tore and
I jammed my fist in and unlatched it.

I crawled through the window into the
room. Robin was stirring on the bed. I
grabbed the floor lamp and put it on di-
rectly oyer him, so it would show down
on his face. He was waking up.

Burning up celluloid in Fox's "Hot Spot"
are Betty Grable and Vic Mature,
performing as their fiction models,
Jill and Peg, of Photoplay-Movie
Mirror's "I Wake Up Screaming!"

"Don't move," I said.

"Wh-what?"

"If you move I'll kill you!"

"Who is it?" he said.

I told him.

It was half a minute before it hit him.
Then he was wide awake, trying to look
past the light and into the darkness at
me. Robin was washed out. His eyes
were bloodshot.

"Mind if I light a cigarette, old man?"
he said

"You won't need one."

He was motionless.

"I'm going to ask some questions," I
said.

"Sure. Go ahead."

"I want the answers, Robin!"

"Sure."

He was rubbing his mottled skin. Ap-
parently he was able to see me now.

"That day of the murder," I said, "you
picked up Vicky Lynn outside her agent's
office on the Sunset Strip."

"That's right."

"How come you never told the police?"

"I didn't at first because I figured it
would have put me under suspicion, and
it would have."

"What do you mean by at first?"

"They found out later," he said.

"Who found out?"

"Ed Cornell."

I was jarred. "Then you told him?"

"I didn't have to tell him — I wish you'd
let me have a cigarette — he found out by
himself. You see, Vicky and I had an
argument."

"About her leaving you?"

"Yes. She was tossing me over for —
for you."

"Go on."

"We had this argument. It meant a lot
to me. Publicity angles and all that."
He changed to the other elbow. "I lost
my head. I began to yell at her and I
didn't look where I was driving. I ran
into a guy. No damage, except the bump-
er and windshield. The windshield shat-
tered. Cornell found out about that and
deducted the rest."

CD CORNELL had never told me this.
I- Yet I remembered he had not accused
me of having picked her up on Sunset —
which had been the first police theory:
He had stated I was waiting in the apart-
ment when she came in. I was sick that
Cornell was so far ahead of me; that
these things which I had figured out he
had known weeks ago! It was like a
terrible race between us.

"You didn't hit her in the car — and kill
her9"

"Good heavens, no!" Robin said.

"After the accident what happened?"

"I took her home. She didn't have the
key to her apartment. She said she
usually got a passkey from the boy at
the desk. But the switchboard was
jammed and the boy was gone."

"What did you do?"

"She said she knew a way to get in.
We went upstairs, then out on the fire es-
cape and crawled in the living-room win-
dows."

I was stunned. His explanation was as
good as mine, even better. "Go on," I said.

"That's all. In the apartment we
argued some more — and I left."

"Was Harry Williams downstairs when
you went out?"

"No — the switchboard was empty."

I moved a little closer. "Isn't it true
that after you and Vicky were in the
apartment you lost your temper and hit
her? You hit hex- — and you had that big
metal ring on your finger. I haven't seen
the ring since."

"Haven't you? Let me get up and I'll
get it."

"All right."

I moved back and he got out of bed,
crossed the room in his pajamas and
opened a dresser drawer. He took out
the ring and tossed it to me.

"If I killed her that'd be Exhibit A—
the weapon of murder. So — I make you
a gift of it!"

I turned the ring over in my hand.

"Would I do that," he said, "if I were
guilty?"

I couldn't speak.

"I appreciate what you're trying to ac-
complish," he said. "Personally, I never
did think you were guilty. None of us
did."

I started for the window. "I'm sorry I
bothered you."

"It's all right. Need any dough?"

"I could use some," I said.

Robin picked up his wallet, flipped it
open and took out all that was there. It
amounted to forty dollars.

"Good luck," he said.

I drove the car down around the hills
and on to Cahuenga. I kept driving. I
meant to turn back but I kept driving.
San Fernando fell behind me. The car
ate up the black asphalt highway. My
mind was turning the whole thing over.
There were two of Ed Cornell's clues
that bothered me. Vicky's shoe some-
body had stood on and crushed. The
cigarette that had been smashed out in
the closet. Somebody had been hidden in
the closet when she and Robin came in.
Who? It had narrowed down to this.
The answer of this one question con-
tained the solution. I was suddenly pos-
sessed with the notion that I knew it.

THE town of Doris in California is near
' the state line. It is a small town, and in
the hotel where I had a room it was very
hot. But I didn't spend much time in the
hotel. Through the long days I stopped
every person I met and asked endless
questions. I didn't look at newspapers.
I didn't want to know what they were
doing with Jill. I couldn't stand to know.

At the end of the first week I found
him.

It was on a Saturday night and it was
raining very hard. He lived in a ranch
house ten miles out of town. I stood
there at the door and rapped my knuckles
against it. After a long time the door
opened and a woman peered out. She
was withered, but very hard, with sharp,
ugly little eyes.

"What is it you want?"

"I came to see Bill Hunter."

"Who are you?"

"I'm a friend of his from Doris."

She opened the door. "Come in, then.
He's there in the living room."

I came in and she closed the door. He
was sitting next to an open fire. He
turned and looked up at me.

"Hello, Harry Williams," I said.

He stared at me. The old woman was
his aunt and she was saying: "William
gets in a lot of trouble at the pool room,
don't you, William?" She talked to him
as though he were not quite bright. But
suddenly it struck her that I had spoken
his real name, and she turned to me.

"What did you call him?"

"Harry Williams."

"But he's not! How foolish! He's — "

Harry Williams was on his feet. The
big yellow eyes behind the thick-lens
glasses were horrible.

"Harry, who is this man?" she de-
manded.

"He's from Hollywood," Williams said
evenly.

I watched him. "You killed Vicky,
didn't you?"

He didn't speak.

"It was like this," I said. "When Lanny
Craig left — you went back into the apart-
ment to wait for Vicky."

"Yeah," he said.

"But you saw her coming in through
the fire escape and Robin was with her.
You weren't supposed to be hanging
around in her apartment and you got
scared. It was too late to make a break
for the door — they'd have seen you. So
you beat it into the bedroom. You hid
in the closet! You smoked a cigarette in
there and stood on one of her shoes."

"Yeah — yeah."

"You heard her and Robin arguing.
You heard the door slam when Robin
left. You came out of the closet — "

"CTAND clear, Harry!"

^ I turned. The old woman had a shot-
gun leveled at me. Harry saw it.

"No! Don't! I'm not afraid."

She lowered the gun but it was still
pointed at me.

"Go on," Harry Williams said. "When
you're through — there's something I want
to say."

"You came out of the closet. Vicky
saw you and screamed."

"Yeah."

"You were in love with her. You knew
she'd signed a movie contract — was going
to leave the apartment — "

He nodded; now he began to talk.

"Yeah. She screamed, and yelled at
me to get out. Her screaming got me
excited. I went a little crazy maybe —

Latest figures on the Broadway strip-
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listen, here's what I told her — I swear I
said, 'Vicky, you're going away. I want
just one little kiss!' That's what I said."
He was almost sobbing. "I only wanted
one little kiss! But she kept screaming.

"I had that big iron key ring," he went
on, "the ring with passkeys; I had it
in my hand. I don't know what hap-
pened. I must have hit her. She went
limp in my arms. Her eyes fluttered
closed. I ran out of the apartment. I
got a freight train — I came back here to
Doris. They hid me. We changed my
name. You see — you see — "

The old lady slammed the shotgun
down across the table. She wasn't going
to use it. "Harry, you're a fool!"

"What's the difference?" he said. "The
cops figured this all out. They just said
lay low and don't talk about the murder.
They understood how it was. This guy'll
understand, too — "

"What was it you said?"

"I said the cops, they — "

"Cops?"

"Well, no — just one detective, by him-
self. I suppose he told the others how it
was. He was a guy from L.A.. this

detective. His name was — "

It was noon. In Los Angeles the traffic
was thick on the streets and the side-
walks were crowded with people. I was
in an old hotel. I knocked at the door
of a room. Then I went in.

Ed Cornell looked up.

"Hello, Operator Thirteen," I said.

He wore white pajamas. In the shadow
that fell across the room from the win-
dow his face was long and evil. He had
cards laid out in a game of solitaire. His
face was jaundiced, sickly — and I knew
somehow that he was on his last legs.

There were six different pictures of
Vicky around the walls. They were large-
size. In four of them she seemed to be
looking at you. I felt cold.

I remembered all the things Ed Cor-
nell had said. Harry Williams couldn't
be guilty. Jealousy was the only strong
motive. Jealousy. Rank, bitter hatred.
The blind obsession of a man about to die.
With each day his hatred for me had
grown. It was very clear now.

For weeks he alone had been fully
aware of the fact that Harry Williams
was the murderer!

It didn't matter! He arrested me for
the murder while Williams' confession
still rang in his ears! He knew what he
was doing. It was not the law I was
fleeing — but him. He had trumped
up a case, manufactured evidence.

And all the time he knew that Harry
Williams was guilty.

It was only in the very beginning that
he must have honestly believed I was
the killer. He was too good a detective
to hold that opinion long.

I HAD heard Vicky say months ago that
' Harry Williams had complained about
his job and said he could always get em-
ployment in Doris, California. He was
not overly bright but he realized that the
police would find his home address with-
out difficulty.

The place in Doris was an ace up his
sleeve; and this only because his cousin
had recently dropped him a card to the
effect that fruit pickers were needed up
there. Probably a hundred such cards
were sent out to every address the cousin
could find. When the fruit is ripe, or a
week or so earlier, certain ranchers do
this. But for Harry Williams it was
obscurity. He went to Doris, was wel-
comed by a shrewd, mean and lonely
old woman.

Ed Cornell, with only one possible clue
— the post card from Harry's cousin,
which might have been left in his room
the night he fled — had journeyed alone to
Doris, discovered Harry without diffi-
culty, and heard his confession. And for
what must have been the first time in
Cornell's life — turned his back on a mur-
derer.

Cornell gambled on the chance that no
one else would ever find Williams. At
least, until after I'd been hanged. If he
was discovered then — by accident some
day — it was of no importance. Ed Cornell
knew that his own days were numbered
and he cared nothing for the fact that it
would be revealed he had deliberately
sent an innocent man to the gallows. But
he wanted first the satisfaction of seeing
me hang. His was the most fantastic
game in the world: he wanted to commit
a legal murder!

Even now. with my appearance in this
room, he labored under the impression
that his plans were moving with flaw-
less precision. He imagined that he had
cornered me — that I was in a trap from
which there was no possible escape.

He laid the card down now. He sat
very still. I heard the sound of the
clock: and I could hear the downtown
traffic. He (Continued on paae t'4

photoplay combined with movie mirror

The Light of Freedom

Strange and prophetic, the words of Sir Edward
Grey, and full of meaning for Americans.

For the lamps of America are not going out — now
or ever. The lights of America must continue to shine,
not only as a symbol of our own freedom, but as a
beacon of encouragement to those countries whose
lights have — temporarily — been blacked out by the
totalitarian scourge that threatens so much of the world.

For two years, we have urged all America to unite
in a Night of Light on Christmas Eve as a symbol ot
our belief in the permanence of the Light of Free-
dom that we in this country enjoy.

For two years, Governors and Mayors have issued
proclamations, patriotic organizations of all kinds
and descriptions have given it their backing.

For two years America has been a blaze of light
on Christmas Eve.

This year, more than ever before, it is important that
we Americans re-examine our beliefs; rededicate our-
selves to the traditions that made us and the tasks
that confront us.

So again we ask, as a means ot symbolizing our belief
in the light of freedom and democracy, that we light
every lamp in America on Christmas Ei>e. Doing this
depends on everyone — on you, and you, and you.

Will you, whether you can light a single candle
or throw the master switch of a whole factory,
Will you turn on the lights?

Will you, if you live in a community ivhere
defense requirements make this inadvisable,

Will you light at least one lamp to join in

spirit in this symbol of freedom 1

The lights of America must never go out. Will you
turn on yours this Christmas Eve?

JANUARY, 1942

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(Continued from page 62) spoke, as
though he were talking to the cards.

"Come to give yourself up. I suppose
you want to make a deal — you'll sur-
render if I let the girl go." He looked
at me coldly. "Well, it's no good!"

I did not move.

"You'll excuse me if I don't get up,"
he said. "The doctor's got me in bed.
But you wouldn't be interested, would
you?"

"I was talking to Harry Williams," I
said.

His face was expressionless. But his
eyes went chill.

"I heard the confession," I said, "and
you heard it — weeks ago, and yet — " I
could feel Vicky's eyes staring down.
"You were still determined to hang me."

The room was silent. He began mixing
the cards. Suddenly he leapt from the
bed and toward a table. I grabbed him
and slammed him back across the bed.
The moment he fell he was seized with
a fit of coughing. He lay there, that
cough racking his throat. His police gun
was on the table. He hadn't reached it.
i didn't go near it.

"Well?"

"Nothing," I said. "There's no words.
It's over. I'm released. The game be-
tween us is finished."

He just watched me. I turned. One
by one I ripped the pictures of Vicky
from off the wall. I tore them into bits.
Then I leaned back against the dresser.
I was breathing hard.

His eyes dropped. He looked at his
hands. He was sitting on the edge of the
bed, his pajamas hanging loose on his
thin body.

"Call the D.A.," he said. "Tell him to
come over here."

|_j OW do you say The End? What are
' ' the words you use? For there is no
end, really. There are simply episodes, and
all of the episodes put together make one
lifetime. It's rather wonderful! I re-
member I could not end the first play I
wrote because I felt the drama was but
a particle of the Jives of the people in it,
and they should go on. I cannot end this.

Ed Cornell told the whole story to the
District Attorney and Jill was released.
Ed Cornell did not elaborate.

He offered no excuse for himself, £. .d
I made no charge against him. Two
weeks ago he died of tuberculosis in a
sanitarium in Arizona. Harry Williams
was arrested in Doris, California, and
sentenced to life in San Quentin.

So the end did not come violently.
It was all gradual. The Williams trial.
The death of Cornell. And that day in
Santa Barbara when Jill and I were mar-
ried in an old Spanish mission. There
are so many things! The opening of my
first picture, "Winter In Paris," and the
nice house beside the sea where Jill and
I live. All of these things have become
reality, but if this were a screen play
I think I'd go back — back to that day
Cornell confessed — and write the fade-
out with the scene of Jill's release from
jail.

It was late afternoon, and the sun shone
dimly on the gray stone steps. Pigeons
strutted up and down, and people were
coming and going. Jill came out, wearing
a green skirt that was tight on her hips.
and the sandals with red cork heels. She
came down the steps, and she saw me.

"Why, darling," she said, "you've
shaved!"

I was holding her in my arms then and
it was very hard for me to speak. I just
held her close, and finally I said:

"Hello, mommy!"

The End.

photoplay combined u-ith movie mirror

;

Close Ups and Long Shots

(Continued jrom page 4) life of the
average human society . . . and then
Douglas confounds them by not agreeing
with them at all. . . .

"I'm not sure I'm doing the right thing
by Hollywood," he says ... "I incline
toward believing that the public prefers
to think of its stars as supernatural, un-
real beings, set apart in every ; way . . .
maybe that is really an actor's mission
in life ... to supply dream pictures and
appearances . . . but for me, personally,
I've got to help out in these awful
days. . . ."

Having seen the new box-office fig-
ures for the major portion of the year
1940 ... it throws all Hollywood . . .
but worst of all Paramount ... to see
Miss Betty Grable in the list of the first
box-office ten . . . Betty's too forthright
to be called a glamour girl . . . too curva-
ceous to be called a dramatic artiste . . .
too cute to be called artistic . . . but
there she is, bringing in that folding
money. . . .

And when they talk of Grable these
nights, they automatically talk of Alice
Faye . . . for with Alice's retirement from
acting for a year in which to have her
first child . . . Grable not only auto-
matically becomes queen of the Twen-
tieth Century lot . . . but queen of
Hollywood's musical comedies . . . they
speak with amused admiration of Grable
and her success . . . but when inner
Hollywood talks of Alice, they talk with
tenderness. . . .

For now it can be told that there never
has really been a time in all her movie
days that Alice has been quite happy
. . . with the possible exception of the
first few months she knew Tony Martin
. . . she attained stardom . . . she at-
tained wealth . . . but within her soul,
Alice was always troubled and lonely
and miserable. . . .

The demands of her career always con-
fused her . . . interviews frightened her
. . . strangers terrorized her . . .

So inside Hollywood isn't absolutely
sure that she will even come back to the
screen after her baby is born . . . she's
wildly happy now, married to Phil Har-
ris. . . .

Thus speaking of love, they think of
the Gables . . . and they speculate about
Carole Lombard . . . Carole Lombard in
search of a picture . . . vivid, dynamic
Carole who was so sure that what she
wanted was what the public wanted, too
. . . and who then had the misfortune
... or the miscalculation ... to get three
flops in a row . . . today her health is
poor . . . she looks constantly tired and
overstrained . . . yet you see her fran-
tically reading books, plays, original
scripts . . . and Hollywood wonders and
wonders . . . she should be so happy . . .
the price on some careers runs very
high . . . and Carole is too exciting, too
stimulating for Hollywood to want her
to pay too high a price. . . .

But it is a changing Hollywood when
even the inner ring will consider that it
might be wise to give up a career . . .
as Alice Faye may ... as Stirling Hay-
den has . . . and it is a changing Holly-
wood when it is voluntarily put aside
as Douglas Fairbanks has put it aside "for
the duration" . . . and it is a wonderful
Hollywood when a picture can be both
artistic and commercial as "How Green
Was My Valley" certainly is . . . and
when it comes to the Bioff case. . . .

Well, what Hollywood says about that
one I can't tell you ... as much as I
wish I could ... I can't tell you through
the pages of a friendly family magazine
. . . ah, no, indeedy. . . .
The End.

JANUARY, 1942

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They were all in there rooting for the team: Ed Keller, the
most football-minded alumnus and trustee, Patricia and Michael
Barnes. Tommy was conspicuous by his absence, but then,
Tommy thought football was sometimes a waste of time

The Male Animal

(Continued from page 41) did not want
to talk to Tommy about the professor-
ship. They found him in his study, look-
ing grave. With him was Michael
Barnes, senior and editor of the student
body's quarterly Literary Magazine. The
Turners knew Michael well: he was the
rival of Wally Myers, the reigning star
of the Midwestern team, for the affec-
tions of Patricia, Ellen's sister. At the
moment he was very glum.

"What's the matter?" Tommy asked.

"Michael has written another of his
fiery editorials," Dr. Damon said, waving
a magazine in the air. "This is the
Literary Magazine, which comes out to-
morrow. Perhaps, to save time, I should
read the editorial aloud. 'When this so-
called University forces such men out
of its faculty as Professor Kennedy, Pro-
fessor Sykes and Professor Chapman,
because they have been ignorantly called
Reds, it surrenders its right to be called
a seat of learning. It admits that it is
nothing more or less than a training
school for bond salesmen, farmers, real-
estate dealers and ambulance chasers. It
announces to the world that its faculty
is subservient. . . .' "

"Oh, I didn't mean you, of course, Dr.
Damon," Michael said hastily.

" '. . . to its trustees, and that its
trustees represent a political viewpoint
which is sheer Fascism. Those professors
were not Reds. They were distinguished
liberals. Let us thank God that we still
have one man left who is going ahead
teaching what he believes should be
taught.' "

THE Dean paused. Tommy lit a cig-
arette and said interestedly, "Who's
that?"

Instead of answering, the Dean con-
tinued reading: " 'He is not afraid to
bring up even the Sacco-Vanzetti case.
He is going to read to his classes on the
same day Vanzetti's last statement and
Lincoln's letter to Mrs. Bixby. The
hounds of bigotry and reaction will, of

course, be set upon the trail of this
courageous teacher, but they will find
him brave as a tigress — ' Is that a mis-
print, Michael?"

"Yes, sir," Michael said.

" 'Our hats are off to Professor Thomas
Turner of the English Department.' "

"Michael," Tommy said sharply, "I
think you might have consulted me about
this."

"I — " Michael began, but Ellen inter-
rupted him. "You never told me you
were going to bring up the Sacco-
Vanzetti case in your classes, Tommy."

"I wasn't. I was going to read that
letter because it's a fine piece of English
composition and I'm teaching a class in
English composition."

CLLEN said reproachfully, "Did you
*- want to get Tommy kicked out of
school, Michael?"

"No. I didn't think of that," Michael
admitted. "I thought he was about the
only man we had left who would read
whatever he wanted to to his classes.
I thought he was the one man who would
stand up to these stadium builders."

"I'm not standing up to anyone, Mich-
ael," Tommy said miserably. "I'm not
challenging anyone. This is just an inno-
cent little piece I wanted to read."

"I'm afraid you'll have to deny you
ever intended to read it," the Dean said
regretfully. "With Ed Keller and the
rest of the trustees rather upset, at the
moment, over the late presence of — er —
Reds — in the faculty. . . ."

"Of course Tommy'll deny it," Ellen
said. But she remembered, later, that
he didn't, just then, confirm that state-
ment.

The interview with Dr. Damon cast a
pall over the evening for Tommy and
Ellen — and for Ellen's sister Patricia, too,
when she heard of it. Times like this,
when Michael Barnes' tendency to take
himself and the world too seriously
landed him in trouble with the author-
ities, made Patricia think she preferred

Wally Myers, who took only football
seriously.

Still, the cocktail party went off well
enough — up to a point. Joe Ferguson ar-
rived first, driving a long, low-slung
limousine. And he was just the same,
Ellen thought. He hadn't changed a bit.
He roared when he saw her:

"Ellen! How are you, baby? Boy, you
look great!" And he threw his arms
around her, whirled her off her feet in
a wide circle.

"Joe! You fool! Put me down!" Ellen
shrieked, laughing, just as Tommy came
in from the kitchen bearing a full cock-
tail shaker.

Fast on Joe's heels came the Kellers —
Ed about forty-eight, getting heavy
around the middle; Myrtle plump and
still reminiscently pretty. Ed and Joe
greeted each other with noisy, affec-
tionate insults and some back-pounding,
and fell into eager talk about the chances
of the Big Red Team tomorrow. The
Damons arrived and Myrtle Keller and
Mrs. Damon spoke of mutual friends who
had been, were about to be, or should
be, operated upon.

Dean Damon picked up a book and
Tommy, bored, drank a few too many
cocktails.

Cleota, the Turners' maid, circulated
sadly around the room with a tray, re-
peating to everyone, "Hore doves?" in
her soft Southern voice.

| T was Mrs. Damon who made the fatal
' error. In a conversational lull at supper
she said to Patricia, "Where's Michael
Barnes this evening? Frederick tells me
he's written a remarkable editorial."

Patricia said nervously, "He couldn't
come. He doesn't like parties."

Chattily pursuing the subject, Mrs.
Damon said, "I'm always so interested
in the Literary Magazine. What was the
editorial, Patricia?"

"Eat your dinner, my dear," Dr. Damon
said. "Remember, Mr. Keller . . . wants
to get to the rally."

Ed perked up. "Who is this Barnes?
What's this about an editorial?"

"Oh — it's nothing, really," Ellen said.

But Tommy said, "Since it's come up.
Ellen, we might as well tell Mr. Keller.
He'll read about it tomorrow, when the
Magazine comes out. I told Michael I was
going to read something to one of my
English classes and he got a mistaken
idea about it and wrote a sort of — "

"What was it this kid said you were
going to read? Anything important?"

Tommy hesitated — then took the step.
"It's a short but beautifully written piece
of English by Bartolomeo Vanzetti."

"Never heard of him," Ed said com-
fortably. He raised his fork to his lips
and abruptly lowered it. "Hey, you don't
mean Vanzetti of Sacco and Vanzetti —
the Reds that were executed in Massa-
chusetts for murder?"

"Yes, the same man. Only, a lot of
people don't believe either of those men
committed the murder. The letter is part
of a series. I read many such letters to
my class."

"You mean letters by anarchists?"

Tommy restrained himself. "No," he
said quietly, "letters by men who were
not professional writers — like Lincoln.
General Sherman — "

"Well!" Keller puffed. "It's a darn good
thing you changed your mind. Putting
Lincoln and General Sherman in a class
with Vanzetti! Wouldn't look very good.
You better deny it quick, Turner. I can
promise you the trustees will clamp down
on any professor who tries anything
funny. I'm telling you that for your
own good."

Joe came to the rescue of the tense
situation by dragging Ed into the library

photoplay combined with movie mirror

for another drink.

"Tommy," Ellen said, "Tommy, you're
not going ahead and read that letter?"

"Yes, Ellen, I think I have to. Monday
morning."

"Tommy! Try to be practical for once.
Do you think Joe would do something
that would get him into trouble just
because somebody irritated him?"

"Joe!" Tommy snapped. "I don't see
why you don't try to understand how I
feel about this."

They were saved from a quarrel only
by the re-entry of Joe and Ed, clamoring
to be off to the rally. Tommy said he
didn't think he'd go along — he didn't
feel very well. Ellen, pressing her lips
together, yielded to Joe's insistence that
she go with him.

THE following morning the Literary
Magazine was distributed on the cam-
pus. About eleven o'clock reporters de-
scended upon Midwestern University.
They besieged Ed Keller and other
trustees, they maintained an active sur-
veillance of Tommy Turner's house. But
they could not find Tommy. He had gone
for an early-morning walk.

He came back about one o'clock.
Ellen was waiting for him in the
library. She had been worried over his
absence, so naturally when he returned,
looking perfectly normal, she was angry.
The first thing she wanted to know was
whether or not he'd denied that he was
going to read Vanzetti's letter. When he
said he hadn't, she sighed, "You mean
you've decided you will read it. Tommy,
I don't know what to say to you."

Tommy, about to go upstairs, turned.
"I think maybe you've said enough al-
ready. Last night I began to see you,
and myself, clearly for the first time."

Ellen blushed. "Oh — you saw Joe kiss
me! I thought that was it."

"No," Tommy admitted, "I didn't. Did
he kiss you?"

"Yes, he did! And I want you to stop
this. If you're going to be jealous, be
jealous, rave or throw things, but don't
act like the lead in a Senior Class play!"

Running a hand furiously through his
hair, Tommy said, "I'm not jealous! I'm
trying to tell you that I don't care what
you and Joe do! It's very lucky that he
came back just now. I mean on the
money I make, I can go on fine alone,
reading whatever I want to to my classes.
That's what I want."

"Oh, that's what you want! All of a
sudden! More than me?"

"It isn't so sudden," Tommy said. "It's
logical. We get in each other's way. You
wear yourself out picking up after me.
And anyway, you've always been in love
with Joe Ferguson. I knew it last night
when I saw you two together again."

"All right. Have it your own way,"
Ellen said. "If you want to be free, then
I want to be free — and I've gone around
for years mooning about Joe. Well, may-
be I have — maybe I have, because I'm
certainly sick of you right now!"

C LLEN went to the game that afternoon
L with Joe. Tommy listened to it on the
radio, in company with Michael Barnes
and the remains of last night's liquor.

"Do you know," Tommy asked Michael
toward the end of the afternoon, "the
first law of human nature?"

"Yes. Self-propagation."

Tommy shook his head. "Not any more.
Defense of the home. Against prowlers
and predatory — prowlers. Do you know
what the tiger does when the sanctity
of his home is jeopardized?"

"Um — he talks it over with the other
man, quietly and calmly." Michael
helped himself to another drink.

"He does not!" Tommy sputtered. "Let

JANUARY. 1942

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us take the wolf. What does he do? I
mean when they come for his mate? He
tears 'em to pieces."

"But we are civilized men," Michael
said. "Aren't we?"

Tommy pounded on the top of the
radio. "And so does the leopard," he
shouted, "and the lion, and the hawk.
They tear 'em to pieces. Without a word.
Let us say that the tiger wakes up one
morning and finds that the wolf has
come down on the fold. What does he — ?
Before I tell you what he does," Tommy
explained in his best classroom manner,
"I will tell you what he does not do."

"Yes, sir," Michael said.

"He does not expose everyone to a
humiliating intellectual analysis. He
comes out of his corner like this — "
Tommy jumped up, took a fighting pose,
swayed, and sat down again. "The bull
elephant in him is aroused," he said.

"Can't you stick to one animal?"
Michael asked.

"No. That's my point. All animals are
the same, including the so-called human
being. We are all male animals, too.
Even the penguin. He stands for no
monkey business where his mate is con-
cerned. Swans have been known to
drown fierce Scotties who threatened
their nests. Think of the sea lion for a
minute. His mate is lying there in a
corner of the cave on a bed of tender
boughs. Now. who comes swimming
quietly in through the early morning
mist, sleek and powerful, dancing and
whirling and throwing kisses?"

"Joe Ferguson," Michael said.

And what do I do?"

"You say 'hello.' "

Tommy nodded sadly. "But the sea
lion knows better. He snarls, he gores,
he roars with his antlers. He knows that
love is a thing you do something about.
He knows it is a thing that words can
kill. You do something. A woman likes
a man who does something. I hope I
have made all this clear to you. Are
there any questions?"

"Yes," Michael said. "Who are those
people looking at us?"

Tommy turned around. Ellen and Joe
were in the doorway. Ellen, in disgust,
turned and went upstairs. "You guys
are pie-eyed," Joe said.

Tommy got up and came toward him,
crouching a little. "So!" he said. "You
crept into this house to take Ellen away,
didn't you? You thought it was the
house of a weak professor, didn't you?
Well, come outside! Come outside, where
I can knock you cold."

"Now, wait a minute!" Joe protested,
but Tommy had him by the arm and
was tugging him toward the back yard.

It was about this time that things be-
came completely confused for Tommy.
He remembered, later, launching a ter-
rific haymaker at Joe's chin. It landed
instead on Joe's nose, which began to
bleed. Joe seemed to push him and after
that he didn't remember anything at all.

|_| E woke up with a terrific headache.
' ' It was morning. He was in his bed-
room and a photographer was in the tree
outside, pointing a camera at him. He
got up and pulled down the blind.
Through the window on the other side
of the room he saw Dean Damon in the
back yard next door.

The Dean looked up. "Hello, Thomas,"
he said. "How do you feel?"

"I'm not sure," Tommy said weakly.
"How do I look?"

"Er — I think we'd better drop that
subject," the Dean said after a quick
glance at Tommy's battered face. "Do
you think you'll be able to read the
letter? That is — if you plan to read it — "

"Yes," Tommy said. "I plan to. Lucky

"They Got Me Cov-
ered," Bob Hope's
chuckle opus, gets
read from cover to
cover by Claudette
Colbert, rates grins
from the Colbert who
isn't s© bad on chuck-
les herself. Cal York
read the book too —
and has something to
say about it on p. 12

today is Sunday — gives me all day to
rest up."

"Correction," the Dean said. "Today is
Monday. Monday noon, to be exact."

"Huh? Wasn't there a Sunday this
week?"

"Such a Sunday as I hope never to see
again! You were the subject of every
sermon in town."

Tommy groaned. "Guess I'd better
hurry and dress," he said without
enthusiasm.

He hoped he'd see Ellen before he left
the house. But she wasn't there. Prob-
ably had gone off with Joe Ferguson
already, he guessed. He couldn't blame
her, after the way he'd acted.

English 2-B had been moved into the
auditorium, he discovered when he
reached his usual classroom. Too many
visitors wanted to attend the class.
Michael, who met Tommy on his way to
the auditorium, said stoutly, "They're
trying to bluff you, Mr. Turner, with a
crowd. Keller'll probably start some
rough stuff. They think you're scared."

"I am," Tommy said.

He entered the auditorium by the stage
door. From the wings he could hear
the murmur of a packed house out front.
Ed Keller was waiting backstage with
Dean Damon and pounced upon him.
"See here, Turner," he shouted, "we just
had a trustees' meeting in the Presi-
dent's office. Michael Barnes is out and
you're on your way out. You'll be asked
to resign tonight."

"Sorry, Mr. Keller. I'm taking my
stand."

"There's just one thing that'll save
your neck — go out there and say you
were sick. Say you didn't know any-
thing about Barnes' editorial. You think
it's an outrage. You're not going to
read this Vanzetti thing, and you think
Barnes is getting what he deserves."

Dean Damon said: "Professor Turner
wouldn't say that about Michael, Mr.
Keller, and you shouldn't ask him to."

Tommy threw the Dean a grateful
glance and walked out on the stage. His
first impression was that he'd never seen
so many people in his life. He wanted
to turn and run.

Over in one corner he caught sight
of Ellen — with Joe Ferguson. He could

not tell for sure, but he thought she
was crying.

"The class will please come to order,"
he said — then realized he couldn't be
heard and pitched his voice higher. "Last
week — if you remember — I happened to
mention that I wanted to read you three
letters, written by men whose profession
was not literature but who had some-
thing sincere to say. Once I had declared
that harmless intention, the world began
to shake, great institutions trembled and
football players descended upon me and
my wife. I realized then that I was doing
something important."

He paused and the crowd stirred ex-
pectantly.

"THE men whose letters I picked were

' Lincoln, General Sherman and Barto-
lomeo Vanzetti. Originally, I chose Van-
zetti to show that even broken English
can sometimes be very moving and elo-
quent. But now — they have made it
more than that. They say Vanzetti was
an anarchist. I am not concerned with
his politics — I only intended to read this
letter for its value as English composi-
tion. This is a dangerous thing to bring
up, of course, and an even more danger-
ous thing to keep down. I am not a
politician and had no idea of starting all
this. But if they want to make it poli-
tical, all right! I'm fighting for a teacher's
rights and a student's rights and the
rights of everybody in this land. No-
body can suppress ideas just because he
doesn't like them — least of all in a
university, where it is our job to bring
light into this muddled world."

There was complete silence in the hall.
In a momentary pause, Tommy looked at
Ellen. She didn't seem to be crying now.
Like everyone else, she was listening
intently.

"This is not about Vanzetti," he went
on. "It is about us. And if I can't read
this letter today, tomorrow none of us
will be able to read anything except
what Edward K. Keller and the trustees
permit us to read! You know where
that leads — and where it has led in other
places. We hold the fortress of free
thought and free speech in this place
this afternoon."

He pulled a small book from his pocket.

photoplay combined icith movie mirror

"I'm afraid this may disappoint many of
you. It is not inflammatory. Vanzetti
wrote it in April, 1927, after he and
Sacco were condemned to die. Here it
is: 'If it had not been for these thing,
I might have live out my life talking at
street corners to scorning men. I might
have die, unmarked, unknown, a failure.
Now we are not a failure. Never in our
full life could we hope to do so much
work for tolerance, for justice, for man's
understanding of man, as now we do by
accident. Our words — our lives — our pain
— nothing! The taking of our lives — the
lives of a good shoemaker and a poor
fish-peddler — all! That last moment be-
longs to us — that agony is our triumph!"

He lowered the book. "That's all," he
said tiredly. "Class dismissed." And
walked off the stage.

"Nice work, Turner," Ed Keller said
sarcastically. "Now you're out of a job.
You're going to starve — " But Tommy
went on past him.

HE was on the campus when he heard
them coming out of the auditorium —
the whole crowd yelling. A car whizzed
up to him and Joe Ferguson called, "Hey
— get in! The mob's after you!"

Tommy squared himself off. "I knew
it," he said fatalistically. "Let 'em come!"

"No, no! Get in the car!" Joe grabbed
him and hustled him into the back seat.

"They'll hurt Ellen!" Tommy protested.

"No, they won't. I'll go get her — you
lie down on the floor out of sight!"

Tommy obeyed orders and a moment
later heard Joe ushering Ellen into the
front seat. The car started off.

"But where's Tommy?" Ellen de-
manded.

Joe laughed. "I wouldn't worry about
that guy," he said surprisingly. "But I
suppose you're still crazy about him,
aren't you?"

"I'm kind of scared of him," Ellen said.
"He used to be just — nice, but now he's
wonderful!"

Tommy slowly sat up until he could
see Ellen. She was sniffling into her
handkerchief.

"I don't think he's so wonderful,"
Joe said.

"He is, too! That letter's wonderful!
What he's trying to do is wonderful. He
wouldn't let me or you or anyone stop
him. When he read that letter — that's
when he was the real male animal, not
when he punched you on the nose Sat-
urday." The snifTLiig changed to a pitiful
wail. "Oh, Joe — he's so wonderful!"

Tommy poked his head across the seat.
"I think you're wonderful, too," he said.

"You were listening!" she said accus-
ingly and might have said more, but at
that moment a flying wedge of students
appeared out of a side street and blocked
the car's progress. Joe had to stop. Cries
of "There he is, boys! Let's get him!"
filled the air. Clutching hands lifted
Tommy bodily out and tossed him to the
shoulders of a brawny football star. And
suddenly Tommy realized that the yelling
he'd heard was really cheering and that
they weren't bent on lynching him but
on carrying him home in a triumphal
procession.

Feeling dazed, happy and quite foolish,
he was borne down the campus to his
own doorstep. Ellen came running
through the crowd to him. With every-
one looking on, he swept her into his
arms and kissed her.

"Tommy!" he heard her say. "Don't
be so rough! And comb back your hair!
You look terrible!"

"Don't give me that!" he ordered. "I
look wonderful."

"Yes, dear," Ellen said hurriedly. "Yes.
dear. You look wonderful."
The End.

JANUARY, 1942

I'm known at home as
the ugly duckling

"Hm! Pretty good-looking duckling to me! What d'you mean, you're
known at home . . . ?"

"Dad calls me that on account of what I used to be. You should have
known me then! Thin, skinny, run-down— I even used to . . ."

"Used to iv hat?"

"Scare babies, like this! And then

I was told I had a Vitamin B

Complex deficiency."

"Say it in English!"

"It's a shortage of those amazing

vitamins you find in their natural

form in fresh yeast. So I bought a

week's supply of fleischmann's.

Took two cakes a day in nice cool

tomato juice, and pretty soon . . ."

"Pretty soon— a dream come true!
But what's this business about
tomato juice?"

"That's the new way to take
yeast. Lookit! Mash a cake of
fleischmann's in a dry glass
with a fork, add a little tomato
juice, stir till blended, fill up the
glass, and drink. Delicious!"

"«n#s

All 1 1" "

|„!l

^-— '

Ever read the fleischmann
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such as yeast and liver. Remem-
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fleischmann's, B,, D, and G,
are not appreciably lost in the
oven; they go right into the bread.

Fleischmann's Fresh Yeast
For Natural Vitamin B Complex

(Continued from page 53) my age."
That should have been the tip-off.
After all, the studio people weren't
fooled. Within a few days, as a matter of
fact, they had a Little Talk with Connie
Lupino, Ida's mother. "What is this?"
they asked, not very politely. "The way
this kid talks to reporters — she ought to
be posing for baby food ads."

"Look," Connie said, "she is only a
baby. . . ."

". . . without a trace of talent," said
Connie to her guest. (Scene: the Stanley
Lupino drawing room in London, winter,
1928.) She glanced at Ida crouched over
a book in the bay window seat and low-
ered her voice. "She's ten, but not at all
like a Lupino. No feeling for drama, no
ambition toward the stage. . . . However,
such an obedient, sweet, well-behaved
child."

From the window seat young Ida raised
blase eyelids and looked at her mother
with what she felt was mingled world-
weariness and mystery in her eyes. How
Little They Know, she thought. The
pages of her book were blurred by a
glaze of pleasurable tears; brushing them
aside with the back of her hand, as she
had seen several leading ladies do in such
circumstances, Ida focused again on the
third chapter of "Smilin' Through."

She was not unaware of her heritage.
She knew the Lupino legend by heart —
how in medieval years the family had
been jugglers and street entertainers, how
they came to England from Italy about
the time of Shakespeare, wore stocks for
working without licenses and eventually
spawned a brood of acting Lupinos that
came to be the theater's oldest family.

She understood how important it was
to be a daughter of Stanley Lupino, Eng-
land's foremost comedian, and of Connie
Emerald. But Stanley and Connie were
busy, after all; Connie was enchanted
with her daughters, and by them, but
when there was a job to do it was enough
that they were well, and happy, and had
good manners.

At private school, the Clarence House
school at Hove where Ida stayed until
she was eleven, she knew only discipline
and routine. Home was a different mat-
ter. It was a 200-year-old structure full

Ida, the Mad Lupino

of dark crannies, paneling and stained-
glass windows, and it was almost always
crowded with itinerant guests, actors
down on their luck who came to Stanley
because they knew he wouldn't refuse
them.

The air rang with rehearsals, with the
constant undertone of people muttering
lines to themselves; and sometimes, late,
when everyone — including Nannie and
the servants — were asleep, Ida pulled Rita
out of bed and led her to the stair land-
ing where, in the dim light, the two chil-
dren gave their own interpretation of
what they had heard that day.

THE time had come now, however, for
■ greater things. The two Lupino girls
approached Stanley, asked for a hut to
be built in the back yard, explained they
wanted a stage large enough to crawl
onto and room for at least five neighbor-
hood friends to crouch before it. "So we
can give plays," Ida said, when Stanley
asked why.

"All right," he said, "but that's all it
will be. A hut. I'll give it three after-
noons this week."

He gave it eight months, all told, hav-
ing become utterly charmed with the idea
after that initial conference; and when
the hut was finished it had employed the
services of eight workmen, besides two
electricians, and was a private theater
boasting regularly employed prop men,
a call board, fifteen lots of scenery, a
foyer, a flyaway, a pit and real stalls with
tip-up chairs, each holding a cigarette
tray on its back. The entire shebang cost
a small fortune and could seat 100.

"Well, I had a dream of such a theater
when I was a boy," Stanley explained de-
fensively when the scandalized Connie
saw the bills. "Now I've got it."

"But the children," Connie wailed. "It
was supposed to be for them!"

"Oh — oh yes," said Stanley. "Well,
and they shall use it, too. But appro-
priately, mind you. Appropriately." And
the rolling of his r's was fine to hear.

Wherefore the child Ida was given roles
in "Hamlet" and modern productions of
the "Ladies In Retirement" variety at
the age of eleven, clad in full evening
dress and allowed to perform before a
chosen audience who had previously been

Getting familiar with
the Lupino family:
Father Stanley, Ida,
Connie and Rita in
a private "at home"
musical comedy

warned what to expect. Now it cannot
honestly be recorded that Ida Lupino, at
eleven years, walked out on that stage
and appeared to be a tragic woman of
thirty. But she gave a strangely accept-
able imitation of such a woman. The
applause at her exit (the night of her
debut) was gratifyingly loud, although it
was unaided by the four hands you
would have expected to clap the loudest.

Connie and Stanley were too deeply
astonished to applaud. "Why — it's incred-
ible," whispered Ida's mother vaguely,
still staring at the curtained stage.

"By heaven!" shouted Stanley. "The
gel can act!"

He was only mildly surprised, there-
fore, when less than two years later she
knocked on the door of his study, entered
shyly but with her mouth thin and deter-
mined and announced she wanted to quit
school for a career.

"You're only thirteen," he said.

"And a half."

"There's your school."

"I'm two years ahead," she told him,
after a moment. "I cheated."

"Cheated!"

"I studied at night," she said. "I sneaked
downstairs during lights out and studied.
Because I thought if I did that I could
get out sooner, and. . . ."

"And what?"

"And be an actress." She faced him,
chin and lower lip firm, brow defiant.
Stanley wavered, folded his hands.

"We'll make a bargain," he said, as so
many fathers in like crises have said be-
fore him. "I want you to go to Switzer-
land for a time — there's a school I've in
mind. But if you can get a job within the
next six weeks, not using the Lupino
name or connections, you've my permis-
sion to do as you like." That's safe
enough, he thought. She can't do that.

But she did.

SHE was abnormally tall for her years
anyway and in certain of Connie's
clothes she looked old enough to match
her language, which was the language
of the stage, of the Lupino social set.
Worldly and full of shop talk and reek-
ing of the theater, that language; and
she used it well. Besides, she had found
a bottle of peroxide in the medicine cab-
inet, so that her hair quite suddenly be-
came sophisticated hair.

The job she got was not much. A stage
manager happened to need someone to
play a maid. A thin, haggard girl in
someone's obviously cast-off clothes ap-
plied for the part, looked the part, and
furthermore said her name was Ida Ray.
He hired her, writing in the minimum
wage allowable to salve his conscience.

She rushed into Stanley's study that
evening, full of triumph, harsh-voiced
with fatigue. "I've done it," she croaked.
"I've got a job! The bargain's done,
you made it yourself. No more school. . . ."

She looked grotesquely young, pitifully
vulnerable, standing there in her shape-
less dress with her undisciplined straw-
colored hair awry and her ankles twisting
on unaccustomed heels. Stanley must
have found his heart full of pride for the
kid, plus a sharp, nostalgic understanding
of her eagerness — he was an actor and
therefore a sentimental man. He walked
slowly to the window, stood looking out
with his back to Ida. He waited the
effect-pause no longer than was abso-
lutely necessary.

Then, relieved, he turned and beamed
on the child. "Aren"t you the one!" He
said. And, "Oh now, none of that. Come
here, put your head here. Why the tears?
You knew I'd keep my promise."

photoplay combined with movie mirror

THERE were the next two years, until
she was fifteen, and they were too
crowded, too full of things and people
and happenings, so that even today they
make a blur when she thinks of them.

At the Royal Dramatic School of Art,
about this time, she met a boy named
Jack, a brilliant youngster whose future
in the theater seemed assured and who
recognized in Ida perhaps more than the
other students, or even her parents, knew
was there. Ida was ever a dramatic
child: when he played the Knight in
Shining Armor to her Maiden in Distress
(in the school's experimental produc-
tions) she translated the dialogue into
words that had a meaning to herself —
and so did he —

They fell in love, which is important
not only to her history but to Ida per-
sonally, and always will be, since it was
first love, dressed in all the ideals such
youth as theirs could invent. From it
they concocted dreams. "Someday, when
we are stars, and rich, we'll buy a castle
with a moat. . . ."

Then, finally, it was over. Jack had
gone abroad, and Ida was busy growing
up. But the dream was still there. She
remembered it for years, until another,
greater dream supplanted it.

Playing small parts, attending the
Royal Academy of Art and falling in love
occupied her during the first of those
two incredible years. The second is
more unbelievable still. It began with
Allan Dwan's coming to England to do
a picture and with Connie's asking Ida
to spend an afternoon with her on an
Elstree sound stage to watch cousin Lu-
pino Lane direct Stanley in a talkie.
Dwan came up to Connie, pointed to Ida,
said, "That's the first English girl I've
seen who looks American enough for this
story. Let me give her a screen test."

"She's too young," Connie said absent-
ly, watching Stanley rehearse.

But Dwan was persistent. He tested
Ida the next day, the forty-first test he
had run, and hired her forthwith. Where-
upon Connie once more had to stand
and watch her fourteen-year-old daugh-
ter make violent love to a man of thirty-
five. She felt ashamed, in a way; but
at the same time she knew the exultation,
the pride that Stanley had felt that eve-
ning when Ida had come to him with
her first job. She was such an infant,
that Ida, but what an actress!

It was the year of the quota pictures
in England, which means a prescribed
number had to be done in a certain length
of time, and Ida — it seems to her now,
in retrospect — did them all. She played
a hard-bitten golddigger in "Money For
Speed"; she starred with Ivor Novello in
"I Lived With You," an extremely naugh-
ty role indeed; and a lot of others, all of
a type. Her hair was platinum now, and
her violet eyes were heavily shaded under
mascaraed lashes; her eyebrows were
gone, with pencil lines in their places; her
figure had filled out a little — you could
see that, because of the gowns she wore.
Sometimes, looking at her, Connie recog-
nized in this production only a faint re-
semblance to her daughter Ida.

So that when Paramount offered to pay
the child $600 per week on a five-year
contract, plus traveling expenses for both
of them to Hollywood, Connie didn't
protest very much. It seemed useless
anyhow. Ida wanted to go. She wanted
that more than anything in the world.

If Ida had known what Hollywood was
going to hand her those first discourag-
ing years, she might not have been so
anxious to leave London. That sur-
prising story will be told you in the con-
cluding installment to appear in Febru-
ary Photoplay-Movie Mirror.

JANUARY. 1942

k^fij&T

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(Continued from page 37) ensigns on its
hands. The upshot of all this big dis-
armament talk was that Brian Donlevy
quit the Academy.

It was only natural that he should head
for New York. All writers did, didn't
they? But writing was risky, acting
riskier. He had to eat, so (shades of
John Paul Jones and David Glasgow
Farragut!) he turned collar-ad model for
two years.

Then one day he heard that a pro-
ducer was looking for a former marine
to play the part of a leatherneck. He
made a beeline for the office, demanded
an interview, swore he was an ex-marine
and got the part. The play was called
"What Price Glory." William Boyd,
George Tobias and Louis Wolheim were
also (and more prominently) in the cast.

The part was small, the play was great
and the Donlevy doom inescapable.
"After that I was sunk," is how he puts
it. True, he tried to square accounts
with his bright star by enrolling for a
short story course at the Columbia School
of Journalism. The professors ripped his
things to pieces. He quit struggling with
Fate after a month and gave in to the
Theater.

There followed several seasons of suc-
cessful Broadway plays, with certain
notable interims of inactivity in between.
Still, life was doing all right by Donlevy.

THE only trouble, he discovered, was
that one by one his chums were quit-
ting the legit and heading for Hollywood.
First it was Jimmy Cagney. Not long
afterward Pat O'Brien took off. Then
Frank McHugh.

By the time he was doing his turns
in "Life Begins At 8:40" he was getting
a raft of mail from his pals on the Coast.
They never failed to describe Hollywood
as "a cinch" and invariably wound up
with this admonition: "Don't come here
until you're asked."

When "Life Begins" breathed its last
in Detroit, Brian headed for New York
with a modest little poke in his pocket
and practically all his chums in Holly-
wood.

If you are guessing that Mr. D. is about
to meet up with another of his accidents,
you are definitely psychic. He is indeed.

Back in New York, he ran into a bunch
of the local boys. One thing led to an-
other, which in turn led to a celebration
in honor of Donlevy 's return.

The next thing our Brian knew was
that when he looked out the window
he saw stars. They seemed closer than
ever before. To complicate matters
further, he thought he detected a loud
humming. All of a sudden it dawned
on him: He was aboard a plane. You
guessed it, reader, he was en route to
Hollywood.

A T the first stop — and the next four
** consecutive stops — he wired his best
friend, Hugh O'Connell, telling him he
was coming and no more of Hughey's
cracks about waiting until you're asked.
He was asleep in O'Connell's bed when
that honest gentleman checked in from
work late that night.

"Hi, sucker!" is how his pal Hughey
greeted him.

For four weeks Donlevy haunted
Hollywood looking for work. But no
takers. When he got down to $160, he
bought an airplane ticket for the trip
back. O'Connell wouldn't hear of his
leaving. He lent him $100 and told him to
stick it out. The money gone, Donlevy
decided that Hollywood wanted no part
of him. The one man who didn't agree
with him was Hugh O'Connell.

"Isn't there someone here you know
from New York — someone connected with
handing out jobs, maybe?"

"I know Bob Mclntyre. Seems to me
he's in this racket."

"Bob Mclntyre — why, he's casting for
Goldwyn."

Mclntyre was a soft touch. He gave
Brian a job, sent him to wardrobe to
get outfitted.

The fellow in wardrobe tossed a black
shirt at him. The way Brian caught it,
he couldn't help noticing the name on
the back of the collar. The name was
Clark Gable.

What he did next is a lesson in
psychology.

Starting with that black shirt Gable
had worn in "The Call Of The Wild," he
requisitioned a complete black getup,
black to the smallest detail. Even his
derringer was black. His strategy was
this: Due to his black costume, the
audience's attention would naturally be
focused on his face. And that face had
to be remembered or Donlevy had to
leave Hollywood.

The reaction to Brian Donlevy's debut
as the black-shirted killer in "Barbary
Coast" was terrific. One trade paper
ironically compared him to Clark Gable!
He was signed to a term contract by Fox.
As Warners did to John Garfield, so did
Fox to Donlevy — they made him a crim-
inal. He stuck it out for three years
and quit.

He went over to Paramount on downs
and was promptly clapped into "Union
Pacific," again as a heavy. They re-
warded him for his fine performance by
casting him as Sergeant Markoff in
"Beau Geste." Once more a heavy. He
parted with Paramount and went over
to Universal by invitation. The Uni-
versal sachems put him in "Destry Rides
Again," an opus in which he played a
deep-dyed scoundrel.

Things began to look hopeless.

ON one of his off-days he dropped by
the Paramount lot, strolled into the
commissary for a cup of coffee and was
hailed by a somewhat distinguished
gentleman in an ascot.

It was Preston Sturges, another of
Donlevy's pals who had drifted West,
the same Sturges who had written a play
called "Maid Of Manhattan," which hit
Broadway with a thud despite Donlevy's
fine performance.

Well, to get on, Sturges asked him
how he was doing.

"Terrible. A case of 'heavy' indi-
gestion."

"Interested in comedy?"

"Very much."

"You're in."

The comedy was called "The Great
McGinty." The title ought to have been
"The Great Donlevy." It showed Holly-
wood that he could do more than bully,
torment, scourge and slay honest citi-
zens only to receive his just doom in the
final reel.

In close-up he is a mild-mannered
somebody who talks as if he were think-
ing of something else. If he is, it is
probably gold mines of which baubles
he has quite a few — none of them pro-
ducers as this goes to press. Mrs. Don-
levy, "Marge" to you, is always shooing
away gents whom Brian has invited to
the house to talk business, meaning the
purchase of a new mine.

He denies that clothes mean anything
to him, yet he is his tailor's delight. The
Donlevy suits run along the sharp side
a trifle, but they are costlier getups
than most of the top-drawer writers ever
sport.

photoplay combined with movie mirror

One of the most popular men on his
ot, he is everybody's pal. Even Charles
Boyer stops to talk with him. Paulette
Uoddard is a one-woman fan club. The
Paramount moppets, Susanna Foster and
Betty Brewer, idolize him. On his side,
Brian sticks pretty much to the old
Broadway gang, McHugh, Tracy, Cagney
and the rest.

Not to mention William Holden, with
,vhom he became great pals during the
ilming of "I Wanted Wings," a fellow-
ship which will be continued both on
md off screen in "The Remarkable
Andrew." So close did the friendship
Decome that it was Brian and Marge who
accompanied Bill and Brenda Marshall
)n their sunrise elopement to Las Vegas
ast July.

Robert Taylor is on the list, too, way
jp. It was Taylor, by the way, who
riade Brian see red one particular night.
He had dropped by the Troc to line up
i date for that evening with his wife-
;o-be only to discover that Taylor had
Deaten him to the punch and was taking
ler out himself.

Anent the wife-to-be business, Brian
net her in the best Donlevy accidental
fashion. He happened to drop by the
}ld Hollywood Trocadero. Marjorie Lane
ivas singing a blues number when he
walked in. He never took his eyes off
fier that night.

It was a stormy courtship. From the
Deginning, almost, the Troc's sensational
songbird was always explaining to Don-
levy in no uncertain terms why they
weren't meant for each other and Brian
would explain why she was all wrong,
tn the end, after four or five months of
debating, they were married on Christ-
mas Eve in Tia Juana. Nine days later
they were married again, in Los Angeles,
this time.

For Brian it was a second marriage.
When he and Yvonne Donlevy received
their final decree in Reno earlier that

year, Brian was "through" with marriage.
A fortnight later or so he met Marjorie
Lane.

Villa Donlevy, out Brentwood way, is
a charming manor house with a living
room that is part modern, part Cape Cod,
with burnished copper kettles, iron grill
work and tooled leather on one side and
on the other a huge bar, a replica of a
New York speak. Here Brian presides,
pouring out beer in mammoth steins or
mixing weird concoctions from Irish
whiskey.

He calls Marge "Squirt." She calls
him a million names — anything but
"Daddy." He makes the money. She does
a good job of putting it away, as good
as she can, considering the fact that he's
eternally bringing home gifts for her,
gifts which he has charged at the stores.

In a box of orchids she has found a
card with a poem beginning:

"I'd write a lovely poem betimes
To Marjorie.

There's nothing (printable) that rhymes
With Marjorie.

If only you were called Louise,
My Marjorie,
Then, pressed for rhyme, I'd use by-

jeez,
See, Marjorie?"

And so on.

In a box containing a gold bracelet
embossed with a heart fashioned out of
rubies, Marjorie Donlevy has found a
card with the written-for-the-occasion
sentiment:

"This is no fancy poem.
Nor is it a toast.
But something to remind you
I love you the most."

Maybe he has salvaged something out
of that wrecked writing career after all.
The End.

Inside Stuff

(Continued jrom page 13)

Old Cal Goes Back to the Indians:

Ever wonder what transpires when a
group of Hollywoodites is suddenly
transplanted to some far-off spot for a
location jaunt?

Wonder no more, my friends, for old
Cal himself has just returned from a
weekend with the "Valley Of The Sun"
troupe up in Taos, New Mexico. After
a night on the train we were whisked
(a cowboy in a station wagon did the
whisking) over the old Kit Carson trail
to picturesque Santa Fe and then on
ninety miles to Taos, a spot out of this
world, known and loved by artists, writ-
ers, Indians and geniuses.

At the Sagebrush Inn we gathered up
leading lady Lucille Ball and her hus-
band Desi Arnaz and with Tom Tyler
lunched at the picturesque La Fonda
Hotel. Indians, swathed in blue cotton
blankets from the local store, crowded
the crooked streets, the white-booted
squaws meekly trailing their husbands.
These are the pure Taos Indians and
they rivaled even Hollywood for color
and glamour.

Out on the magnificent broad mesa,
Director George Marshall was busy with
his troupe. In a covered wagon were
Dean Jagger and James Craig, while
directly behind them stood, of all people,
Billy Gilbert. Even more incongruous
was the man who rode by their side, Sir
Cedric Hardwicke of London, who plays
an English remittance man.

As Director Marshall gave the word,
the wagon drove off over the mesa while

JANUARY, 1942

suddenly from over the plains, coming
straight at us, were several hundred real
Indians in war paint, screeching like
fury. What happened to Craig, Jagger,
Billy Gilbert and Sir Cedric we haven't
the slightest idea. Lucille Ball finally
dragged us out from under a sagebrush,
limp, but with our scalp still intact.

It wasn't until we visited the pueblo
later to pay our respects to the Indian
Governor that we learned most of these
Indians are college graduates who speak
at least three languages.

At the Sagebrush Inn that night, where
the entire cast gathered, the Indians put
on their native dances, their almost naked
and painted bodies quivering to the
strange rhythmic beat of the drums.
Between dances Billy Gilbert calmly plied
his needle back and forth, executing
some of the finest needlepoint work we've
ever seen. Mr. Gilbert, who sneezes for
a living, is very serious over his work
and brooks no kidding, remember that.
Even the Indians were stopped dead in
their tracks at the sight of Billy's sewing.

But the highlight of the evening ar-
rived when Cuban Desi Arnaz formed
a la Conga line of painted Indians, with
Sir Cedric gracefully kicking from right
to left in the rear.

Yes, from Hollywood to Indians may
be a far cry, but we made it all in one
glorious week end and wouldn't have
missed it for worlds. At any rate, you
have some idea of what goes on on a
picture location and that was our main
idea.

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{Continued jrom page 26) him down.
That afternoon he made his second ap-
pearance. Lunch wasn't mentioned. He
wanted to know if she'd have dinner
with him.

"I never go out to dinner with any
young man who isn't a friend of the
family. But come and have tea. I'd like
my mother to meet you."

He quirked a brow, said oh, and didn't
show up again. A couple of months later
he was married to Damita. A couple of
months after that he was being co-starred
with Livvie in "Captain Blood."

She was thrilled when they told her.
Errol's looks, Errol's dash, her own
provocative encounter with him remained
unforgotten. She thought it would be
wonderful to work with him, and it was.
Livvie had one modest success behind
her. Errol was a blank newcomer, grate-
ful for her friendliness.

He went through hell in "Captain
Blood." Even a veteran would have
found it a heavy load, but a veteran
would have known how to protect him-
self. Everyone was on edge and Flynn
bore the brunt of that nervous strain.
To Olivia's earlier liking was added ad-
miration for his grit. Never did he lose
control of himself. But now and then
she'd surprise a lost look in his eyes and
her heart ached for him.

Next time she played with Errol, he
was a star. Nothing lost about him now.
Very sure of himself he was, and she
didn't like him quite so well. She couldn't
know that "Captain Blood" had marked
him, that his mind had been working fast
and grimly while he kept his mouth shut,
that within a few weeks he'd learned a
lesson many people never learn about the
fiercely competitive movie game. This
was the conclusion he reached: "When
you're underdog, they kick you around.
If I ever get to be topdog, I'll do my
darnedest to keep out of a spot where
they can ever kick me around again. I'll
watch out for my own interests, I'll grab
whatever's cominp to me, I'll play the
game their way."

OLIVIA was rehearsing a scene with
him, which had been written as a
fifty-fifty shot. "Isn't it funny," she
thought, "I seem to be sitting down
wrong. My face is always away from the
camera."

Each time they rehearsed, she adjusted
her chair a little, but to no purpose, till
it finally entered her head that Errol was
deliberately maneuvering things his way.

"But that's ridiculous. He's a star. He
doesn't need to upstage me to make the
picture his. Besides, he's not like that."

She kept edging up till there was no
more chair to sit on. Then she got mad,
decided she'd fix him and moved her
chair. As the cameras started grinding,
Errol walked in, kicked his own chair
upstage, sat down and grinned. It was
funny. It was also exasperating.

If she'd faced him with it then, she'd
probably have been doing him a favor.
The shell he'd grown against danger, real
and fancied, might have cracked abruptly
instead of little by little as it did later.
But she was young and hurt and proud,
and was asking no favors of Errol Flynn,
who had once been a knight and knelt
beside her chair. So a barrier rose be-
tween them.

They played in picture after picture to-
gether and with each their relationship
grew more deadening. It was nothing so
active as open hostility. If they'd raged at
each other, at least some life would have
fanned the air. This way it was stagnant.

The climax came with "Santa Fe Trail."
They were doing night work on location

and at three in the morning had one more
scene to shoot. The others wanted to go
on and get it done with. Errol didn't.
"Good night, boys," he said, "I'm going
home."

Livvie stood there flabbergasted. Of all
the unmannerly — ! All right, he was the
star and he'd worked the hardest. But
she was his lead, it took her two hours
to dress and make up. Not even to ask it
they'd mind finishing another time. Just
good night boys, I'm going —

She went after him. With elaborate
courtesy, she asked: "Couldn't you possi-
bly manage to finish this one setup, so
we won't have to come out again to-
morrow night?"

"Why must you approach me on a per-
sonal basis?" he inquired coldly.

Then she let go. "If you mean by per-
sonal, that this involves my comfort and
convenience as well as that of a lot of
other people, you're right. Otherwise, I
don't know what you're talking about,"
and she turned on her heel.

He almost stopped her. What was eat-
ing him was the suspicion that she'd
come, not on her own, but at the behest
of the authorities who were using her to
soften him up. Darn the authorities. He
turned on his heel.

THEY had a day's stills to do together
' when the picture was finished. As they
left the gallery, Livvie said without heat:
"I'm bored to death with you, Errol, and
I don't want to work with you again.
Nothing personal, you understand" — she
got that dig in neatly — "I'm sure you feel
the same way about me. It's bad for us to
work together. Sooner or later it's bound
to show up on the screen. I'm going to
talk to Hal Wallis about it. But you have
more influence than I. Will you talk to
Mr. Warner?"

"Glad to," he smiled. "And may I add
that I agree with you?"

Livvie talked to Hal Wallis, Errol to
Jack Warner, the difference being that
Livvie talked for herself, Errol for Liwie.
He didn't want any separation. But when
a lady's bored, what can a gentleman
say but good-by.

So it was arranged. Brenda Marshall
teamed up with Flynn in "Footsteps In
The Dark." But Livvie had to go with
him and the company to Santa Fe for
the premiere of "Santa Fe Trail." En
route the train stopped at a little town.
The star and his lead were asked to step
out on the rear platform and talk to the
townsfolk over a mike. Unprepared, they
had to adlib it. Whether Livvie helped
Flynn out or Flynn Livvie, she doesn't
remember. But back in their seats, they
looked at each other as if they were a
couple of other fellows.

"Is this you?" Livvie demanded. "Or
is the other one you?"

"Which other one?"

"The one you've been all these years.
The guy who wouldn't finish the scene
that night."

He was sorry, he'd misunderstood, he'd
been a boor, would she please forgive
him? The floodgates burst. He told her
how the thing had started and become,
without his realization, a kind of obses-
sion. Remembering "Captain Blood."
she could understand that. This busi-
ness between them had been her fault
too, she said — she'd been callow, in-
tolerant, overquick to judge. So they
left it at that and talked about everything
under the sun, learning more of each
other in an hour than they had in eight
years. They were still talking when the
dinner call came. Errol said he'd brush
up and come back to take her to the
diner.

photoplay combined with movie mirror

Fifteen minutes later a forlorn voice
answered his knock at the door. "You'll
have to go to dinner without me, Errol.
I don't feel very well."

"Oh, I'm sorry. Anything I can do?"

"No, it must be that terrible beef stew
I had for lunch. Thanks just the same.
I'll be all right in the morning."

Her temperature shot up to a hundred
and two and the first-aid man had to sit
with her all night. At the Santa Fe hos-
pital, her beef stew was diagnosed as
appendicitis. Errol called with Donald
Crisp and a huge basket of flowers. At
the dinner that evening he proposed a
toast to her.

OPERATION and convalescence behind
her, she returned to the studio. It
struck her that she was being handled
more tenderly than usual by the front
office, consulted about details they'd never
bothered to consult her about before.
"Surely it's not just because I've been
ill," she puzzled. "Maybe I'm making an
impression on my home lot at last." Her
best roles, be it remembered, have been
on loanout — Melanie in "Gone With The
Wind," the delicious Emmy Brown de-
liriously played in "Hold Back The
Dawn."

Then she received the script of "They
Died With Their Boots On." "I like it,"
she admitted. "But you know how Flynn
and I feel about playing together."

"Maybe you feel that way, but Flynn
doesn't."

"What do you mean, Flynn doesn't?"

"Well, if he does, he's got a funny way
of showing it: He asked for you in this

picture." With that, the story came out.

Not only had he asked for her. He'd
pointed out that his fan mail clamored for
her as his partner. He knew that his own
box-office pull was greater when she
played with him. If she didn't want to, he
couldn't say that he blamed her. Not
because of his attitude alone, but because
the studio, he felt, had handled her indif-
ferently.

Starry-eyed, she went in search of her
champion. "So you double-crossed me,
you so-and-so. Oh Errol, what a wonder-
ful thing for you to have done. How can
I ever thank you?"

"For what?"

"Saying those things about me."

"Oh, that. They were just facts. Are
you going to do the part? I'm glad."

Which is where we came in. With
Olivia wailing. "And I thought he was
interested only in himself. Thought it
and said it. Now he looks so different —
as if you'd peeled off a whole layer of
Errol and exposed something underneath
you'd never suspected. Oh, it's not be-
cause he tossed some bouquets my way
that I was so touched. But because of
what he did for me with the front office
and how he did it. Because he had the
imagination to realize that was what I
needed most and the really nice heart to
go to bat for me. Me, the smug one,
who'd never even bothered to try to look
below the surface with him. Do you
wonder I feel like a heel? Do you won-
der I'm racking my head for some way
to make up?"

This is to make up.

The End

No Runaway Marriage for These Two!

(Continued from page 28) Eleven months
later, she saw him again. This time it
was at a "jam session" at his house, and
two of his best friends, Buddy Pepper
and Junior Coghlan, were her escorts.
The evening was memorable to Bun for
one reason: Since she had nothing in the
musical line to contribute to the "jam
session," Jackie ignored her completely
in favor of his beloved drum!

The day before Christmas (almost a
twelve-month lapse this time!) Jackie
telephoned around seven-thirty in the
evening and asked for a date that night.
Bun began to demur in the expected
feminine' way; it was "awfully late" to
be asking for a date.

"You're not doing anything, are you?"
Jackie demanded point-blank.

"No," Bun admitted. "But — "

"Then let's go," he said. They went.
Dancing at the Beverly-Wilshire to
heavenly music and complete forgetful-
ness of anything like a clock. Bun got
a scolding for being late but decided it
was worth it.

Christmas day Jackie appeared in com-
pany with her other swains, Pepper
and Coghlan, and gifted her with a charm
bracelet made of flags of all the nations.

It was some time in March he again
telephoned and asked if she would like
to go with him while he made a layout
of publicity pictures of bowling, swim-
ming, ice skating and so on in the after-
noon. Bun accepted and promptly
amazed Jackie by honestly enjoying the
various sports and proving herself re-
markably proficient at them. Here, he
decided, was something pretty swell in
a girl.

"Do you have to go home now?" he
asked. Bun said no.

"Then let's have dinner and go to the
preview," he suggested.

After the preview he again asked if she
had to go home. She said no.

JANUARY, 1942

"Then let's go to Ciro's for a while."
As he left her at her door, one thought
was pounding in the back of young Mr.
Cooper's head. He had been in Miss
Granville's company for a solid twelve
hours and darned if he wasn't wishing
there were twice that time still to go.

THEY started dating once every, two
' weeks. Then it was once a week. Then
it was twice a week. By June of last
year (1940) they had reached the daily-
telephone-call stage and were "going
steady." Since then neither has dated
anyone else. Not that they ever had one
of those "we will" or "we won't" agree-
ments. Both believe such decisions label
one as youthfully naive. Rather, they
just slid into a tacit understanding.

Daytime dates, when picture schedules
will allow them, are given over to swim-
ming, horseback riding and bowling.
That's one reason they're both so excited
about working together in "Syncopation"
at RKO; each will have free time at the
same time. It was tough going when
Bun was making "H. M. Pulham, Esq."
at Metro and Jackie was crosstown do-
ing "Glamour Boy" for Paramount.

Evenings they have dinner and go to
the movies (both are movie hounds) or
stay home and play phonograph records.
On Saturday nights, as a rule, Bun and
Jackie step out in style. The best times,
however, are those dates when they sit
and daydream about former dates.

"Heaven help me if I get a July night
mixed up with a September afternoon!"
Jackie said. "Bun has a memory like an
elephant. Doggone, if she can't remem-
ber everything I said six months ago
and why I said it!"

"Heaven help me if I keep him waiting
ten minutes for anything!" Bun laughed
back. "Jackie is a positive maniac about
being on time!"

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discoveries about each other since they
have been sweethearts. While Jackie has
rhythm in his blood, Bun has none at all,
though she is a good ballroom dancer.
She likes classical music for its mood
or beauty, he for its instrumentation.

They disagree violently about money
with Bun claiming Jackie is woefully
extravagant and Jackie accusing Bun of
pinching pennies at the wrong time. They
argue over her trick diets (he is an anti-
diet man as far as she is concerned) , her
refusal to state dining and dancing pref-
erences and just plain arguments.

"Jackie gets off the track in argu-
ments," Bun observed. "He winds up not
knowing what we were arguing about in
the first place."

"And Bun can't argue quietly and rea-
sonably," Jackie countered, with a teas-
ing grin. "She always winds up in a
lather. But at least," he knocked on
wood, "we've never got to the hang-up-
the-telephone stage. Probably because
neither of us would give in that far!"

They both dislike hypocrites, phonies
and people who use them for personal
gain. They both like sports, swing music,
puns, spaghetti and tailored clothes. Both
are nervous, tactless and unafraid to
sound off. And both are romanticists to
the tips of their toes.

"I suppose that's one reason why I am
opposed to runaway marriage," Bun said.
"I've had a mental picture of my wedding
ever since I was a little girl and an
elopement just won't fit that picture.

"I want a simple church wedding with
only my family and closest friends there,
people who really care about me. I
definitely don't want a 'Hollywood pro-
duction' with a lot of people gaping at
what amounts to a free show. I want
to wear an ivory satin gown with long
sleeves, a train and a veil. I want to
carry white orchids and have two or
three of my best friends for bridesmaids.
I want to have all the usual showers
and parties before the wedding and I
want to have a small reception after-
wards with a wedding cake and a toast in
champagne. I want to have a trousseau
of lovely clothes and a real honeymoon.
In other words, I want to be married
like any girl in any small town, and
nobody can talk me out of it!

"ELOPEMENTS, I suppose, do have a
*■ certain excitement about them, but
to me the marriage ceremony itself
should be a sacred moment, not an excit-
ing one. It should be a moment of such
beauty that all your life the memory
of it will bring tears to your eyes. At
least, that's the way I want it to be for
me and I know it can be.

"It is trite but still true that getting
married is the most important step a
girl takes in life, for it means she is
beginning a new life, ordered by dif-
ferent standards and lived by different
rules. Surely the realization of that im-
portance will be greater for me and I
will be more prepared to make the sacri-
fices and give the understanding it en-
tails if I am married in front of God

Will you ever be rich?

in God's House."

The marriage ceremony is one of the
most important moments in a man's life,
too, Jackie said, for it means he not only
is beginning a newly ordered existence
but has assumed responsibility for an-
other life. He admits he has very definite
ideas for the occasion.

"I want a formal ceremony in church,"
Jackie said. "I want the memory of my
bride walking up the aisle to meet me,
the music of a great organ and the
solemn words of the ceremony itself. I
want my family and close friends there.
I want a wedding breakfast for the
wedding party after the ceremony and
then a reception with champagne and
a wedding cake with those little figures
on top which you keep all your life.
And I want a real honeymoon, a boat
trip if possible."

Like Bun, Jackie is opposed to run-
away marriage.

"Marriage is so doggoned important.
I think it rates a lot of thought before
you take the step." he said. "Nine times
out of ten, people who elope do it on
the spur of the moment. Often they
haven't discussed marriage and what it
means.

"Everything about an elopement is so
sudden and the two people are torn away
so quickly from their former lives they
just don't have time to make the neces-
sary adjustments. As a result, many
marriages break up which otherwise
might have had a good chance to suc-
ceed. Then, too, I think the ease with
which a couple can dash off in the middle
of the night and find themselves married
after a quick word or two by an utter
stranger can't help but bring the feeling
that it would be just as easy — and just
as unimportant — to get a divorce if the
marriage didn't work out right away.

"On the other hand, if you stand up
in church — or in a home, for that matter,
if the same thought and planning has
gone into the wedding — and make cer-
tain promises, you're doing it only after
both of you have done plenty of think-
ing. You know what you are doing and
why you are doing it. And that, above
all, it's nothing you are going to kick
around tomorrow or the day after. There
is a dignity and a solid something about
it which carries through, year after year.
It's something to draw on when the going
gets tough or makes it doubly swell if
the sailing is smooth. Without that solid
something, that sense of security and
permanence, I think any marriage has
two strikes on it. I intend my marriage
to last — and I don't want that kind of
odds."

Perhaps in the future, a few years from
now, Bun and Jackie will share the ideal
wedding they have in mind. Jackie says
that is his idea if Bun still feels the same
about him. The odds on both are pretty
good.

"Providing she isn't late for her own
wedding!" Jackie chuckled.

"And providing he has anything left
for the ring!" Bun laughed back.
The End.

If you have ever asked yourself this question and
wondered what the answer would be, see how twenty-
three young people in Hollywood are working out
security for their precarious futures

IN NEXT MONTH'S ISSUE

photoplay combined icith movie mirror

Love among the Reagans

(Continued from page 31) Between Jane
and whom it may concern, he has.
"Everybody likes him," says the candid
Wyman. "Few people like me." He's
equable, she's hot-tempered; he's instinc-
tively friendly, she's had experiences
which tend to make her mistrustful.

Their one serious difference arose over
an attempt on Jane's part to influence
him in the handling of his career. She'd
been in the business longer, she wanted
him to profit by her blunders. Ronnie
indicated that he preferred to make his
own. Jane recognized the impasse and
has kept her hands off since. On the
basis of his upward zoom from "Million
Dollar Baby" through "International
Squadron" to "Kings Row," she concludes
that off was a good place to keep them.

Indeed, it's Jane, the stormy half of
the pair, who's done most of the surface
adjusting. "At no cost to myself, be it
understood," she says. "I'm only a thou-
sand times happier than I've ever been.
I used to be the kind of person who sat
around swank night clubs with a big
fuzz on my head and a long cigarette
holder sticking out of my face. Athletics
held no charm for me. First I was too
lazy, and then what for? Till along came
Reagan and all I heard was football and
track and swimming and golf. The only
way I could get to see him was out on
a golf course. So where do you think
I went? Out on a golf course."

NOW they play together every Sunday,
with Ronnie gloating over his wife's
perfect swing. She started her swimming
lessons on their honeymoon and he
thinks they'll get round to horses next.
He's broaching the idea subtly from the
angle of how well she'd look in riding
clothes.

Ronnie's notion of a good time is not
going to night clubs. He never said to
his bride, "Let's cut them out." They
just oozed out, along with the fuzz on
her head and the cigarette holder. Eve-
nings are now given to movies, gin
rummy and books. After knitting Ronnie
all the socks he could wear, Jane sud-
denly discovered the existence of reading
matter and devours it with the greed
of one who's been unconsciously hungry
all her life.

Before marriage, Jane's spending was
governed more closely by her whims
than her bank account. Ronnie, on the
other hand, is a guy with a system, self-
installed, since to him a business man-
ager is a tacit admission that you're too
dumb to save your own dough. The
Reagan incomes are pooled. It's not his
money or her money, but their money,
At the end of the week, so much goes
into the joint savings, so much into the
joint checking account. A check is drawn
to cover their spending money for the
week.

If Jane makes a wistful crack about
some divine fur coat she could get
along beautifully without, Ronnie says
okay, honey, and hauls out the bank
books. It winds up with Mrs. Reagan's
wanting to know what he's talking about,
it's perfectly obvious they can't afford a
fur coat, while the mister winks approv-
ingly at himself.

THEY'RE planning their home on the
same sensible structure of don't-bite-
off-more-than-you-can-chew. The site is
on a hill, commanding a view from City
Hall to the sea, and, like any average
couple, they're waiting for FHA to come
through with a loan. Their ideas of what
they want and don't want are well-
defined. Not a mansion, predicated on

JANUARY, 1942

possible future earning power, but a
seven-room house whose carrying charges
they can afford now. A paneled living
room to be lived in. A knotty pine
kitchen with a huge oak table in the
center, because everybody likes to hang
around the kitchen, especially Jane.

To Jane the house, whose foundations
are yet to be laid, is a vivid actuality.
To Ronnie, it's a set of blueprints.
Standing on the sagebrush-covered lot,
Jane's eyes will focus on a given point.
"What kind of drapes shall we have at
those windows?"

"What windows?"

"Over there. The living-room win-
dows— "

"Are you feeling all right?"

"Oh Ronnie, that's where the living-
room windows'll be!"

"Look, honey, would you mind letting
me see the windows once before we
start covering 'em?"

This story revives in Jane the memory
of old wounds. "I can understand his
not being interested in drapes. Anyway,
at this point. What I can't swallow is
his attitude toward my clothes. On our
honeymoon I said, 'We've been married
two days and I'd kind of like to know
what you like and what you don't. Will
you come with me to pick out a swim
suit?' He said, 'I'm busy, I have to
play golf.'

"Once in a while I'd drag him into a
hat shop — why, I don't know. He'd sit
behind a newspaper and say mm. If
I bought the hat myself and tried to get
a reaction, he'd go whew! He seems to
think it's a man's privilege to go whew!
and that a woman's supposed to know
she looks all right. I broke him of that,
though. Now he says, 'My, it's pretty.' "

"A woman," said Ronnie, "should be
satisfied with the gleam in a man's eye.
The gleam in a man's eye should be
more flattering than a lot of meaningless
language. While we're on the subject
of shopping, let me put in my oar. When
I want to buy a pair of shoes nowadays,
I have to fold my tents like the Arabs
and silently sneak away."

"That's not so!"

"My turn. Mrs. Reagan. It used to be
that I wanted a pair of brown shoes.
I went out and bought a pair of brown
shoes and that was that. But my wife
believes in shopping. The only thing she
likes better than a women's clothing
store is a men's clothing store. So she
goes along. I try on not one but thirty
pair of brown shoes. By the time I get
through trying on brown shoes, my
socks are worn out. Then she sees a
robe, then she sees a sweater, then she
sees socks and ties and dungarees. I've
got a robe and a sweater and ties and
socks and dungarees.

"Sometimes I think I'm getting away
with murder. When it comes to funda-
mentals like suits and babies, I find out
who's boss. I think Jane started talking
about a baby a day after we were mar-
ried. I wanted one, too, but I used all
my male logic to persuade her that every
young couple ought to wait a year. She
agreed I was right as usual and she was
wrong. So we had a baby."

THIS event provided Ronnie with some
of his choicest glimpses into the mys-
teries of feminine psychology. They were
driving downtown one day before Mau-
reen Elizabeth's arrival, talking of noth-
ing in particular, when the peace was
shattered by a wild sob from Jane.

"Good lord, honey, what's wrong?
What did I say—?"

"No-nothing — "

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delightful, the color beautiful. Brian
Aherne is lost in a character unsuited
to his fine talents. The performance of
Raymond carries more sincerity than any
of the others.

another between Clark and Lana — that
is, if that's what they paid their money
for.

Your Reviewer Soys: Hot stuff.

Your Reviewer Says: For MacDonald fans. Sailors On Leave (Republic)

^ Dumbo (Walt Disney-RKO)

It's About: A little elephant that discov-
ered he could fly.

A LL the whimsical charm that Walt
''Disney has showered on his past fan-
tasies is embodied in this heart-touching
story of "Dumbo," the baby elephant who
was spurned and despised because of his
enormous ears.

Then, one day, "Dumbo" and Timothy
Q. Mouse, a rodent friend, accidentally
drank some giggle water and after a night
of pink elephants found themselves up in
a tree. To their astonishment, they
learned "Dumbo" had flown there and
the following night when the ringmaster
prepared to make a monkey of poor
"Dumbo," he threw everyone into a
panic by taking off and flying himself
into stardom.

Cliff Edwards is the voice of Jim Crow,
the gay old bird, and Sterling Holloway
is the Stork.

It's appealing, funny and tragic in
turn and drawn to beautiful perfection.

Your Reviewer Says: A novelty of great
charm.

^ Target For Tonight

(Warners' release of a British

Government film)

It's About: The Royal Air Force in action.

| T is the tremendous simplicity, straight-
' forward honesty in telling that makes
this story of the R.A.F. one of the
strongest war documents ever filmed.

The story tells of a raid on Nazi oil
tanks from the time air photographers
have spotted the target to the moment
the boys hover over the spot in their
huge death-dealing bombers. Boys of the
R.A.F. and officers of the station are the
only actors, going through their routine
actions calmly, coolly, matter-of-factly.
A certain Scotch lad, with his cool nerve
and quaint brogue, caught the eye of the
Hollywood preview audience.

The actual bombing crew are all mem-
bers of the "F for Freddie" six, who have
already made more than 200 flights over
Germany and are known throughout
England for their quiet courage.

We consider this hour-long picture one
of the greatest of its kind and urge
everyone to see it.

Your Reviewer Says: Tremendous.

Honky Tonk (M-G-M)

It's About: An unscrupulous he-man of
the old West.

"UONKY TONK" rambles and it ram-
n bles, and it gets nowhere, but in its
circling it does manage to gather up
Lana Turner and Clark Gable and give
them a twirl on the usual sexy old
merry-go-round.

Gable is a Western con man who
makes his living off "suckers." He and
his pal Chill Wills get elected the big
bosses of a Western town, tax the people
into rebellion and escape with their
hides, their unreformed minds and little
else; except, of course, Lana, daughter
of Frank Morgan.

But the customers will get their
money's worth out of one embrace after

It's About: Sailors who try to promote
the marriage of a pal for financial reasons.

DILL LUNDIGAN has spun a fanciful
O yarn of an inheritance due him on a
certain date and his pals, who have
loaned him money on the strength of
it, want him to marry before the dead-
line.

They decide night-club singer Shirley
Ross is to be the girl. After many comi-
cal interludes, supplied by Chick Chand-
ler and Cliff Nazarro, and after many
trials and man-sized tribulations, -Bill
and Shirley — well, anyway, it's a cute
movie.

Your Reviewer Says: Sailor — beware.

Never Give A Sucker An Even
Break (Universal)

It's About: A writer's attempts to sell a
screen story.

I N this picture Bill Fields attempts to
* sell a screen story he has written to
a producer. In real life he did; he sold
this one to Universal, but it isn't funny
to anyone but Fields fans.

It seems to this reviewer, if Mr. Fields
would kindly forget his yen for author-
ship and get back to his Mr. Micawbers
this would be a happier world.

Little Gloria Jean is a bright spot in
the goings-on and Franklyn Pangborn
swipes a few scenes here and there.

Your Reviewer Says: Strictly a Fields day.

Mercy Island (Republic)

It's About: A successful attorney who be-
comes obsessed with a desire to condemn
a fugitive.

|_| ERE is one of those psychological
*' tales of a man who lets himself be-
come eaten with one desire — to return
to justice Otto Rruger, a surgeon who
has been hiding in the Florida Keys.

Anyway, Ray Middleton, a successful
attorney, his wife Gloria Dickson and
others are swept ashore in the Keys and
from the minute Middleton discovers
Kruger, a surgeon who gave a merciful
drug to a condemned convict, he goes
mad with the desire to turn in Kruger.

Middleton is pretty good, too. and the
climax of the story well worked out.

Your Reviewer Says: Not bad.

Down Mexico Way (Republic)

It's About: Bad men who get caught by
good men.

GENE AUTRY fans step forward! All
others may leave the room if they
so desire, because this movie is of Autry.
for Autry, by Autry, a brave and fear-
less lad who, when he discovers his
townsfolk have been gypped by a band
of crooked movie promoters, rides right
over into Mexico to round them up.

There he finds them at the same old
racket and with the police on motor-
cycles and Gene on his horse he snags
them, but good.

Fay McKenzie is pretty and talented
as Autry 's new leading lady.

Autry fans will be thrilled to the mar-
row of their bones. They should be.

Your Reviewer Soys: Look at that guy ride.
photoplay combined with movtf ^iirror

Speak for Yourself

(Continued from page 6) the sofa wakes
up and accompanies her perfectly and
all the people around know all the
words and join in, even though Nelson
Eddy has just finished composing the
song for her.

If I try to brighten my dishwashing by
bursting into song, someone in the next
room says, "There's such an awful
draught I think I'll close the door," or
"Let's turn on the radio, there must be
something bet — I mean good on."

When Don Ameche comes home after
a hard day of inventing things, he kisses
Loretta Young tenderly and murmurs,
"Mmm! Dearest, the thought of you here
waiting patiently makes all the struggles
and disappointments of the days seem
unimportant; you make it all so worth
while!"

When Bill comes home at six he gives
me a quick kiss and says, "Mmm! You've
been eating onions. How soon will dinner
be ready?"

When Charles Boyer discovers how
unjustly he has accused the light of
his life, he murmurs pleadingly, "Dar-
ling, I've been a blind, stupid fool! Can
you ever forgive me?" and then he kisses
her until the Hays Office and I both
swoon — but for different reasons.

When Bill finds out that I didn't do
something he said I did, he barks, "All
right, all right, so I was wrong! Can't
we talk about anything else?"

I like the movies.

E. H. Church,
Woburn, Mass.

$1.00 PRIZE
It's Happened!

CHEERS for Miss Bishop! Cheers
^" and more cheers! After long waiting
and hoping, it's a grand and glorious
feeling to meet in the movies a school-
teacher of the female species who is hu-
man. From the pedantic, absent-minded
school mistress with shell -rimmed glasses,
a sort of feminine Ichabod Crane, who
appears in features, to the dreadful
creature of the comics, flourishing a ruler
in one hand and a dunce cap in the other,
we've been grossly misrepresented.

I was almost ready to suggest the role
of a deep-dyed villain for one of us — a
good villain is preferable to a bad carica-
ture any day! Then along came Mr.
Chips, and we took hope. And now — it's
happened! Miss Bishop is human and at-
tractive. We are deeply grateful, for,
after all, we're just folks, who sometimes
have cars and fur coats and sometimes a
mother or an aunt to support; who dance
on Saturday nights and attend church on
Sundays; who like laughter, but are not
unacquainted with tears.

Annie Laurie Von Tungeln,
Tulsa, Okla.

$1.00 PRIZE
Family Revolution

kA Y husband's being away on defense
' ' * work makes time drag for me, liv-
ing with the family. So the other night I
said, "Folks, let's go and see "Hold Back
The Dawn.' "

"Isn't that Charles Boyer?" said my
young brother.

"It is," I answered.

"Gimme Spencer Tracy," he said.

"And give me Robert Taylor," said my
sister.

Mother pondered. "There was some-
thing about James Stewart — " she began,
but Dad cut in.

"James Cagney should be seen more
often upon the screen," said he judicially.

JANUARY, 1942

"But I'm bored," I wailed.

"Oh, very well," said the family.

Hours later we returned and sat quiet-
ly in the living room.

"Spencer Tracy used to be my favorite
actor," said little brother thoughtfully.

"There is something about Charles
Boyer — " began Mother, but my sister,
rousing from a dream, said, "I wonder
what he'll play in next?"

"Who?" I asked.

"Why, Charles Boyer," chorused the
family.

And Dad, rising and glancing at the
clock, said, "Charles Boyer should be
seen more often upon the screen."

And so to bed.

Ellen M. Jaeger,
El Paso, Tex.

$1.00 PRIZE
Well, Why Go On?

WE are, quite wisely, making every
effort to win the good will and ap-
proval of the South American countries.
How do the inhabitants of these countries
get their impressions of us? Largely
through the movies.

And what impressions they must get!
The general idea of such popular pic-
tures as "Meet John Doe," "Grapes Of
Wrath," etc., is that anyone with more
than a dime in his pants' pocket is a
cruel, scheming scoundrel.

Other impressions — our aviators are
chiefly concerned with women, flying be-
ing only secondary. The life of our sol-
diers and sailors is largely custard-pie
comedy. Our women are beautiful but of
dubious virtue. We spend most of our
time dancing and singing. Our factories
are full of spies. In sections where cow-
boys aren't shooting each other up,
crooks are.

But why go on? Is it any wonder that
South America hesitates to accept us as
the shining knights of the North? I say,
why not have some movies that show
us as we really are? I think we're really
quite nice people.

Marion Goodwin,
Andover, N. Y.

HONORABLE MENTION

I UST recently in a daily movie column
-' published in our newspaper I read that
the publicity men of the movies were
trying to "blitzkrieg" the interesting
articles in your much-read magazine that
are so forcefully written by your con-
tributor "Fearless."

"Fearless" is giving readers the truth.
I look for it immediately when I read
your fine magazine. I'm sure others look
for the monthly article, too. Certainly
truth is more interesting and more gla-
morous— truly it is "stranger than fiction."

So keep on publishing those articles.
Don't let them make you afraid, "Fear-
less!"

Mrs. B. Hoffmann,
Wichita, Kan.

Kl OT long ago I saw the movie "Blood
' ^ And Sand," in which Rita Hayworth
was one of the stars. I thought she was
splendid in the whole show except for
one thing: her singing. It's terrible and
if she always sings like that, please tell
her for me to stick to dancing. There
she was, looking so beautiful and swaying
so alluringly, that naturally you expected
a lovely husky voice to do the vocal, but
horror of horrors, there emerged a shrill
pip squeak.

Mrs. W. W. Jackson,
Shreveport, La.

OVERLOOKING
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Lvery month famous
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To attribute the popularity
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Henry A. Rost. Managing Director
George Suter Resident Manager

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The Truth about Stars' Salaries

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Don't miss this important information— for you
—in the intimate January Physical Culture!

THE WORLD LOVES A LOVER-BUT NOT AN
EX-LOVER. "This business about gay divorcees
is purely the bunk!" Farnsworth Crowder
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of re-born bachelors and ex-wives. The results
of his survey— proof of how tragic divorce can
be— is completely revealed in this magazine of
Beauty and Health. If you are "on the brink,"
or are tempted by too many fiction stories, be
sure to read "No Gay Divorcees" before you act!

JANUARY ALSO OFFERS two LIFETIMES IN

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{Continued jrom page 57) isn't a nat-
ural fighter and he finally got raised to
a decent salary only after he had threat-
ened to quit and because he had become
so valuable Paramount could no longer
ignore his entirely just demands.

Bill Holden started for an even lower
wage than Fred, supposedly for a mere
$50, was allowed to be discovered for
"Golden Boy" (actually he was loaned
out to Columbia by Paramount for plenty
of hay) , give a fine performance and gar-
nered plenty of publicity, thereby in-
creasing his potential value, and yet had
to fight violently and verbally to get his
contract increased.

Right there is where the bonus dicker
usually comes in. When a star has obvi-
ously clicked as Bill did in "Golden Boy"
he gets, if he is restive and noisy enough
about it, a "bonus." This is real and not
stage money and may run anywhere
from $10,000 to $50,000 extra.

I T sounds good and it looks good and
' most young players fall for it, not stop-
ping to realize — as the shrewd producer
did all the time — that this bonus does not
increase the salary on the books; that it
is a favor that can be given at any time —
or just as well withheld — and that the
salary can stay at the same level for
whatever period is stated in the contract,
no matter how terrific the star may
become through his own ability.

As, for instance, consider the cases of
Robert Taylor vs. Buddy Rogers. Both
began as glamour boys at low salaries.
The initial appeal of both of them was to
the ladies. Bob Taylor began at $35 a
week, Buddy at $75. The difference in
the two careers came in the fact that
Bob, through shrewder management and
through a studio that more quickly re-
wards its young players, got almost im-
mediately into real dough (through his
original contract's having been scrapped),
while Buddy Rogers was carted around
this country, displayed to the girls, made
"America's Boy Friend" but never once
given a worthy contract or put into a
strong picture to follow his initial break
in "Hell's Angels." His vogue died be-
fore he could cash in on it.

This would seem to indicate that it is
smartest to make a good fat contract at
the start, but this can work both ways.
Nancy Kelly, a great hit on the Broadway
stage, was brought to Twentieth Century-
Fox at $900 a week at the same time that
Linda Darnell was brought at $75 (the
usual starting salary, incidentally). Nancy
got all the initial publicity, all the big
roles, but she didn't click as expected
and thus, in a few months, she began to
get "between pictures." Linda looked so
beautiful on screen that her loveliness
was all that was necessary, while she was
getting time, off screen, to learn acting
and to grow up. Meanwhile, for every
week Nancy wasn't before the cameras,
those $900 were piling up. A producer
who might want her would look at the
books, see that to have her in his cast
would mean he had to start with some
$10,000 to $15,000 of Nancy's back salary
charged against his budget. Therefore,
he would turn to the equally young, very
lovely and delightfully inexpensive Linda
or to Brenda Joyce, who also fitted all
those adjectives. Brenda Joyce got her
chance in "The Rains Came" not half so
much because she is a delightful girl and
the studio wanted to see if she could be
put across, as it wanted to do something
about a pay roll already top-heavy with
the salaries of Tyrone Power and two
"borrowed" players, Myrna Loy and
George Brent. Supposedly Warners got
$150,000 for Brent in that one, though

Brent continued to get merely his $2,000
a week Warner salary.

Because Joyce and Darnell were so
inexpensive to cast they worked con-
stantly. Therefore, not a nickel of back
salary accumulated against them, while
Nancy Kelly began to get strangled by
her own good contract.

Exactly this happened with Patricia
Morison, also from the New York stage,
also brought out for about $1000 weekly.
Pat got the casting and the publicity —
at first. Then she got stymied and now
she is slowly climbing back. As she
is really a very good actress, she will
undoubtedly click this time.

But Veronica Lake! Well, there you
have it. The Lake came in for nickels
and dimes and has done everything wrong
ever since, given the wrong interviews,
sassed producers, stopped for marriage
and to have a baby. Yet none of it can
hamper her for that simple, mysterious
reason that she has what it takes. Her
chance in "I Wanted Wings" was as noth-
ing against Brenda Joyce's chance in
"The Rains Came." The differential was
that there is a compelling something in
Miss Lake that is not in Miss Joyce. The
one girl has showmanship and the other
hasn't, and so the Lake contract has been
torn up and a new one substituted, while
Brenda Joyce, a charming, co-operative,
delightful but not too compelling girl,
works less and less regularly.

For the truth about Hollywood salaries
is that a producer, like any other mer-
chant, will pay what he has to and not
one cent more. A dozen factors can come
in to affect salaries either up or down.
Ronnie Colman, when he made "Under
Two Flags," got $100,000 and insisted
upon top billing, even though his co-
star, Claudette Colbert, getting $150,-
000, was accustomed, because of her
sex, to the usual movie courtesy of top
billing over any man star. Yet last spring,
because of an existing contract with
William Hawks, Ronnie made "My Life
With Caroline" for $50,000 and that turned
out so badly that it will undoubtedly de-
press his salary on his next picture.

Reversely, a Vic Mature can go to New
York and hit in a Gertrude Lawrence
play and come back worth his weight (a
lot of weight that is!) in gold.

Given breaks like that all the actor has
to do is to be a riot. Because Hollywood
is just like Jones Corners in this respect.
Actors moan about "not getting my
chance" but they actually do get it con-
stantly. John Hubbard started out with
Vic Mature at Roach's and at a much
better salary and in much better roles.
But two studios are not battling over
John's contract, with one paving off the
other to the tune of $80,000 as Twentieth
Century-Fox has just done to secure
Vic's exclusive services. And Clark Gable
played extra in "The Painted Desert" of
which William Boyd was the star. Yet not
so long ago there was the classic instance
of Mr. Gable's refusing to be loaned to
Selznick for "Gone With The Wind" un-
less he could loan himself. No "deal."
no "bonus" for Mr. Sex Appeal. He
dictated his own terms: $7,500 a week
for a flat six months, over and above his
regular M-G-M salary. He got it, and
then worked twenty-nine days!

And that, dear kiddies, is why Vivien
Leigh got discovered — because Selznick
had to have a low salary somewhere
around the cast. But Miss Leigh was
very very good, and Gable was very good
also and as for the picture, it was terrific
and everybody connected with that one,
including the bookkeepers, has lived hap-
pily ever after.

The End

PHOTOPLAY COW! billed With MOVIE MIRROR

Resolutions the Stars Should Make

(Continued from page 21) give him re-
makes like that outmoded story? Why,
Spence cut his eyeteeth on things like
that in his old stock days. And for
heaven's sake, keep on rolling in the
neurotics for Bette Davis — and don't
waste her on any more cactus bushes.

Jean Arthur should set her heart on
doing another picture with Frank Capra
like "You Can't Take It With You." And
let's insist that Capra make three pic-
tures a year always.

Joan Crawford should resolve to get
another picture like "A Woman's Face"
and she'll stay right up there on top and
keep on adopting children.

Let's bring Stirling Hayden back to
the screen and send Madeleine Carroll
back to England to star in a picture for
the British War Relief.

Let's resolve, if more goodwill is
needed in South America, that men like
Buddy De Sylva put on a musical show
down there with Mickey Rooney and
Bob Hope acting in it and Jeanette Mac-
Donald and Irene Dunne doing the sing-
ing. And in return for Carmen Miranda,
let's give them one picture starring Fred
Astaire.

JOAN FONTAINE should stop putting
on the gloves with her producer, David
Selznick, and take his advice. But for
him, she might still be known as Olivia
de Havilland's baby sister, instead of
Joan Fontaine, star of "Rebecca" and
"Suspicion."

Resolved that the producers keep on
giving Roz Rossell good parts this year,
just as they did last, even though she's
no longer under contract to Metro -
Goldwyn-Mayer.

Hedy Lamarr should resolve to keep
away from those law suits. Nothing bores
the public so quickly, except perhaps
too many divorces.

Here's hoping that Charles Boyer will
stay as sweet as he is. But he'll never
make the money for producers that he
should so long as his female fans insist
upon taking their lunch and dinner to
the theater and sitting through a whole
day of Boyer — then go home raving,
which makes their husbands so mad that
they won't go to see a picture for a
month.

Resolved to give Louis B. Mayer a pat
on the back for knowing how to develop
young stars, especially the children, and
for not holding back talent or salary for
Virginia Weidler and little Jackie Horner.

And, oh Lord, keep that raging, fight-
ing Irish spirit in Jimmy Cagney. And
if Ann Sheridan is possessed to have
George Brent, for heaven's sake, give
him to her.

Resolved that in this year of grace
1942 Eddie Albert devote all his time
to his art, instead of giving it away and
being thrown to the lions.

My last year's resolution still goes
for Paulette Goddard. Having filled her
jewel case with diamond bracelets and
knickknacks, and her home with paint-
ings, she can still take care of herself.

GRANT us, oh Lord, that Cary Grant
stands firm and remains a bachelor.
After all, we must have one star who
makes our hearts go pit-a-pat and keeps
our arteries from hardening. I could do
the same flutter over Gary Cooper, but
he's been an old married man lo these
many years. Don't think we need reso-
lutions for Gary, 'cause he's like Old
Man River — just keeps rollin' along.

Because our Negro pictures weren't
successful in the past, let's not be afraid
to try again. I'd like to see Paul Robe-

JANUARY, 1942

son, Marian Anderson, Dorothy Maynard,
Rochester, Wonderful Smith, Hattie Mc-
Daniel, the Hall Johnson Choir, Ethel
Waters, Todd Duncan, Duke Ellington
and all the rest of them go to town in a
picture written and produced by Buddy
De Sylva, with music by Jerome Kern.

Let's give Marlene Dietrich another
with Director Mitch Leisen, which will
co-star Jean Gabin, with story written
by Erich Remarque.

And a cheer to the youngsters like
Deanna Durbin, Judy Garland, Kathryn
Grayson and Gene Tierney for giving
their marriages the dignity which goes
with that solemn occasion.

Ann Sothern made 1941 very exciting
and I predict before 1942 is finished she'll
resolve herself right into position as top
star on the Metro lot — and she deserves
the place.

Now that John Carroll has taken off
his mental diapers and put his mentality
into long trousers, he's going places. And
if someone could persuade Victor Ma-
ture to forget that he was ever called
"a beautiful hunk of man," maybe he
could learn to live up to the title of
actor and earn the salary he's getting.
Remember Edwin Booth made acting a
dignified and honorable profession.

Gene Tierney should insist on two
weeks' vacation between pictures. She's
going too fast for her age and consti-
tution.

RESOLVED that Linda Darnell mix a
little fun and romance into her very
busy schedule. All work and no play
keeps her acting routine instead of
sparkling.

Resolved that Darryl Zanuck take
Tyrone Power out of the American heel
class and just once in a while let us
see the boyish quality he was born with
and still retains. Also, that Cesar Ro-
mero get better parts.

Resolved that when Bob Montgomery
returns from London the industry should
give him a little credit, instead of wait-
ing for the public's cue.

Resolved to find another part for Mar-
garet Sullavan as good as "The Shop
Around The Corner." If given parts
worthy of her, she could be a truly great
star.

Resolved that a portion of our next
lend-lease bill will be fifty percent of
the Hollywood earnings of our English
colony — except for Cary Grant and a
few more who have already donated
more than half.

Now that Betty Field has shown her
versatility by playing a gangster's moll
in "Blues In The Night" and Cassie in
"Kings Row," let's give her a place in
Hollywood comparable to that of Ida
Lupino and Bette Davis.

Martha Scott, just after she had got
her foot in "Heaven," heard the flapping
of wings. No, not angels' — the stork's.
But don't let that happen too often,
Martha.

Resolved that in 1942 Orson Welles
should save his money, because luck like
his can't last forever.

Resolved that Mary Pickford in this
year should start an unknown up the
ladder of fame and teach her all the
things that made Mary America's Sweet-
heart. In that way she'll find happiness
and be an inspiration for the millions
who still call her Sweetheart.

And resolved that Will Hays should
give back the sweaters to the poor shiv-
ering girls who can wear 'em and return
the fire hydrants to the dogs in movies.

And to all of you a happy New Year.
The End.

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Ladies
invited

"See" Carmen Miranda
sing. "My singing is
as much with my hands
as my voice," she says

•VT'

' >k

\ V

' "."'■

. * t

To take advantage
of some free hand-
outs reserved for
them and them alone

Miranda makes her
hands work for her
just as expressively
off screen as on

A BONUS AT THE MOVIES

If you want a nice handout for free,
go watch Carmen Miranda, Brazilian
bombshell. You'll get a few tips on
how a lady can make her hands say
things she wouldn't be caught whis-
pering. Incidentally, if you get your
ticket bought for you, you'll probably
get another kind of handout, too, if
your ticket-buyer's the type who goes
for holding hands while he watches
Miranda in "Week End In Havana."

Nice work if you can get it; one
way to get it is to keep your hands
soft, which is just a matter of cream-
ing, creaming and creaming again. Go
to bed at night with your little digits
well covered with hand cream and a
pair of cotton gloves . . . take a tip
from your doctor and push your
cuticle back with the towel when you
wash your hands . . . and keep the
cuticle smooth by daily chores with
cuticle remover and soft brush . . .
use hand lotion every time you put
your hands in water and as many
other times as you think of it.

A SALUTE FROM THE ARMY

... as a snappy handout in return
for the sweaters, or socks, or scarfs
you'll earnestly knit them this winter.
American hands are busy now, flash-
ing over khaki wool, and when that
private, or sergeant, or top sergeant
(if you're lucky!) wears the sweater,
he thinks sweet thoughts of how

■*&BJr

jtss&a**

"If something is important to you,
you take care of it, so I take care
of my hands." Fast handwork comes
to light in "Week End In Havana"

pretty you look knitting.

Well, do you? Red hands don't be-
long in the knitting brigade. Since
your hands are in the spotlight, keep
them white with hand cream or lo-
tion ... if they're in need of long
hard work before they're presentable,
make them up for the time being as
you would your face, with a founda-
tion cream and a light dusting of
talcum . . . and if your mittens aren't
warm enough and you find youi'self in
the red so far as hands go, just hold
your hands up over your head when
you take your gloves off. That way,
the blood is taken from them and
they'll turn lily-white in a couple of
seconds.

A BOW FROM THE RED CROSS

. . . for all the bandages you'll roll
for them in your spare hours. Now
you may be able to roll more band-
ages per minute than your sister
workers but that won't mean a thing
if your hands are rough. Rough edges
on nail or cuticle still slow you down
... so keep your nails pliable by
soaking them in nail oil often (Mi-
randa swears by this procedure) . . .
smoothing them (not daily filing — it
wears them down) with an emery
board . . . digging your hands in a
cake of soap before starting any heavy
work to keep your nails from chip-

BY GLORIA MACK

ping. Put on two coats of nail polish,
natural shade underneath if you pre-
fer, and watch your manicure last.

A GRAND-SLAM BRIDGE HAND
FROM YOUR PARTY HOSTESS

It happens once in a lifetime; now
that you have it what are you going
to do with it? Well, for one thing,
you're going to be able to concen-
trate on it because you're not going
to be bothered with how your hands
look . . . that is, you're not, if you've
been sure to use nail white constantly
under your nails . . . that way you can
clean them easily because the grit
clings to the cream, is taken out read-
ily, doesn't get into the surface of
the nails themselves.

AN ENGAGEMENT RING FROM
YOU-KNOW-WHO

Sometimes a handout like this
sneaks up on you. so be prepared and
when you hold out that third finger,
left hand, be sure it's going to do
justice to what's going on it. Which
means you do everything you've just
read, that you remember, too, to keep
your hands supple and graceful by
exercising them. There's an easy an-
swer to the exercise problem . . .
when you have a minute alone just
relax your hands and shake them
loosely as hard as you can.

Better watch out or before you
know it you'll be just like Miranda!

PHOTorLAY combined with movie mirror

Casts of Current Pictures

"ALL-AMERICAN COED"— Hal Roach-U. A.
Story by Cortland Fitzsimmons and Kenneth Hig-
gins. Directed by LeRoy Prinz. Cast: Virginia.
Frances Langford; Bob Sheppard, Johnny Downs;
Bunny, Marjorie Woodworth; Slinky, Noah Beery,
Jr.; 'Matilda, Esther Dale; Hap Holden, Harry
Langdon; Tiny, Alan Hale, Jr.; Henry, Kent
Rogers; 2nd Senior, Allan Lane; 3rd Senior, Joe
Brown, Jr.; Doctor, Irving Mitchell; Washwoman
(Deborah), Lillian Randolph; 4th Senior, Carlyle
Blackwell, Jr.

"APPOINTMENT FOR LOVE"— Universal.
Screen play by Bruce Manning and Felix Jackson.
Based on the story by Ladislaus Bus-Fekete.
Directed by William A. Seiter. Cast: Andre Cassil,
Charles Boyer; Jane Alexander, Margaret Sulla-
van; Nancy Benson, Rita lohnson; George Hast-
ings, Eugene Pallette; Edith Meredith, Ruth Terry;
Michael Dailcy, Reginald Denny; O'Leary, Cecil
Kellaway; Timothy, J. M. Kerrigan; Dr. Gunther,
Roman Bohen; Gus, Gus Schilling; Xora, Virginia
Brissac; Martha, Mary Gordon.

"DOWN MEXICO WAY"— Republic. Screen
play by Olive Cooper and Albert Duffy. Based on
a story by Derrell and Stuart McGowan. Directed
by Joseph Santley. Cast: Gene, Gene Autry; Frog,
Smiley Burnette; Maria Elena, Fay McKenzie;
Pancho Grande, Harold Huber; Gibson, Sidney
Blackmer; Allen, Joe Sawyer; Mayor Tubbs. An-
drew Tombes; Flood, Murray Alper; Gerard.
Arthur Loft; Juan, Duncan Renaldo; Davis, Paul
Fix; Don Alvarado. Julian Rivero; Mercedes, Ruth
Robinson; Capt. Rodriguez, Thornton Edwards,
and The Herrera Sisters.

"HONKY TONK"— M-G-M. Screen play by
Marguerite Roberts and John Sanford. Directed by
Jack Conway. Cast: "Candy" Johnson. Clark Gable;
Elizabeth Cotton, Lana Turner; Judge Cotton,
Frank Morgan; "Gold Dust" Nelson, Claire Trevor;
Mrs. Vamer, Marjorie Main: Brazos Heam, Al-
bert Dekker; Daniel Wells. Henry O'Neill; The
Sniper, Chill Wills; Pearl, Veda Ann Borg; Gover-
nor IVilson, Douglas Wood; Mrs. Wilson, Betty
Blythe; Harry Gates, Harry Worth; Blackie, Lew
Harvey.

"HOT SPOT"— 20th Century-Fox. Screen play
by Dwight Taylor. From the novel by Steve Fisher.
Directed by Bruce Humberstone. Cast: Jill Lynn.
Betty Grable; Frankic Christopher, Victor Mature;
Vicky Lynn, Carole Landis: Ed Cornell, Laird
Cregar; "Jerry MacDonald, William Gargan; Robin
Ray, Alan Mowbray; Larry Evans. Allyn Joslyn;
Harry Williams, Elisha Cook, Jr.; Reporters, Chick
Chandler, Cyril Ring; Asst. District Attorney,
Morris Ankrum; Florist, Charles Lane; Caretaker,
Frank Orth; Hcad-vaitcr, Gregory Gaye; Mrs. Han-
del, Mae Beatty.

"HOW GREEN WAS MY VALLEY"— 20th
Century-Fox. Screen play by Philip Dunne. Based
on the novel by Richard Llewellyn. Directed by
John Ford. Cast: Mr. Gruffydd, Walter Pidgeon;
Anqharad, Maureen O'Hara; Mr. Morgan, Donald
Crisp; Bronwyn, Anna Lee; Hutu, Roddy McDow-
all; lanto, John Loder; Mrs. Morgan, Sara All-
good; Cyfartha. Barry Fitzgerald; Ivor, Patric
Knowles; Welsh Singers, Themselves; Mr. Jonas,

Brian Donlevy makes a direct hit on
the box-office fence without any
hitching of wagons to stars in Para-
mount's "The Remarkable Andrew ."
In an Andrew-Jackson costume, he
does some lot-pacing with Ellen Drew

JANUARY, 1942

Morton Lowry; Mr. Parry, Arthur Shields; Cein-
wen, Ann Todd; Dr. Richards, Frederick Worlock;
Davy, Richard Fraser; Gwilym, Evan S. Evans;
Oti'f», James Monks; Dai Bando Rhys Williams;
Mervyn, Clifford Severn; Evans, Lionel Pape; Mrs.
Nicholas, Ethel Griffies; Motshcll, Dennis Hoey;
Iestyn Evans, Marten Lamont; Meillyn Lewis, Eve
March; Ensemble Singer, Tudor Williams.

"INTERNATIONAL LADY" — Small-U. A.
Screen play by Howard Estabrook. Original story
by E. Lloyd Sheldon and Jack DeWitt. Directed by
Tim Whelan. Cast: Tim Hanley, George Brent;
Carta Nillson, Ilona Massey; Reggie Oliver, Basil
Rathbone; Sidney Grenner, Gene Lockhart; Web-
ster, George Zucco; Dr. Rowan, Francis Pierlot;
Bruner, Martin Kosleck; Tetlow, Charles D.
Brown; Mrs. Grenner, Marjorie Gateson; Moul-
ton, Leland Hodgson; Sewell, Clayton Moore;
Dcnby, Gordon DeMain; Sir Henry, Frederic Wor-
lock.

"MALTESE FALCON, THE" — Warners.
Screen play by John Huston. Based on the novel
by Dashiell Hammett. Directed by John Huston.
Cast: Samuel Spade, Humphrey Bogart; Briuid
O'Shaughnessy, Mary Astor; lva Archer, Gladys
George; Joel Cairo, Peter Lorre; Lt. of Detectives
Dundy; Barton MacLane; Effie Ferine, Lee Patrick;
Kasper Gutman, Sydney Greenstreet; Detective
Tom Polhaus, Ward Bond; Miles Archer, Jerome
Cowan; Wilmer Cook, Elisha Cook, Jr.; Luke,
James Burke; Frank Richman, Murray Alper;
Bryan, John Hamilton.

"MEN IN HER LIFE, THE"— Columbia.
Adapted by Fredrick Kohner, Michael Wilson and
Paul Trivers from the original by Lady Eleanor
Smith. Directed by Gregory Ratoff. Cast : Lina
Varfavina, Loretta Young; Stanislaus Rosing,
Conrad Veidt; David Gibson, Dean Jagger; Marie,
Eugenie Leontovieh; Roger Chevis, John Shepperd;
Victor, Otto Kruger; Manilov, Paul Baratoff;
Rose, Ann Todd; Nurdo, Billy Reyes; Madam
Okenkova, Ludmila Toretvka; Lina's dancing
partner, Tom Law.

"MERCY ISLAND"— Republic. Screen play by
Malcolm Stuart Boylan. From the novel by Theo-
dore Pratt. Directed by William Morgan. Cast:
Warren Ramsey, Ray Middleton; Leslie Ramsey,
Gloria Dickson; Dr. Sanderson. Otto Kruger; Clay
Foster, Don Douglas; Captain Lozve, Forrester Har-
vey; Wiccy, Terry Kilburn.

"NEVER GIVE A SUCKER AN EVEN
BREAK" — Universal. Screen play by John T.
Neville and Prescott Chaplin. Original story by
Otis Criblecoblis. Directed by Edward F. Cline.
Cast: W. C. Fields. W. C. Fields; Gloria Jean.
Gloria Jean; Butch and Buddy, Themselves; Mile.
Gorgeous, Anne Nagel; Franklyn Pangborn. Frank-
lyn Pangborn; Mrs. Pangborn, Mona Barrie; Leon
Errol, Leon Errol; Ouliotta Delight, Susan Miller;
Mrs. Hemogloben, Margaret Dumont; Peter Carson,
Charles Lang; Steve Roberts, Emmet Vogan;
Waitress, Jody Gilbert.

"SAILORS ON LEAVE"— Republic. Screen
play by Art Arthur and Malcolm Stuart Boylan.
Original story by Herbert Dalmas. Directed bv
Albert S. Regell. Cast: Chuck Stephens, William
Lundigan; Linda Hall, Shirley Ross; Swift y,
(/hick Chandler; Aunt Navy. Ruth Donnelly; Gwen,
Mae Clarke; Mike, Cliff Nazarro: Dugan, Tom
Kennedy; Sadie, Mary Ainslee; Bill Carstairs,
Bill Shirley; Thompson, Garry Owen; Sawyer,
William Haade; Sunshine, Jane Kean.

"SMILIN' THROUGH"— M-G-M. Screen play
by Donald Ogden Stewart and John Balderston.
Based on the play by Jane Cowl and Jane Murtin.
Directed by Frank Borzage. Cast: Kathleen,
Moonyean Clare, Jeannette MacDonald; Sir John
Carteret, Brian Aherne; Kenneth Wayne, Jeremy
Wayne, Gene Raymond; Reverend Owen Harding,
Ian Hunter; Ellen. Frances Robinson; .Willie.
Patrick O'Moore; Charles (.Batman), Eric Lons-
dale; Kathleen (as a child), Jackie Horner; Sexton,
David Clyde; Dowaqer, Frances Carson; Woman,
Ruth Rickaby.

"SWAMP WATER" — 20th Century-Fox.
Screen play by Dudley Nichols. From the story by
Vereen Bell. Directed by Jean Renoir. Cast: Ton:
Keefer, Walter Brennan; Thursday Ragan, Walter
Huston; Julie, Anne Baxter; Ben, Dana Andrews;
Mabel McKenzie, Virginia Gilmore; Jesse Wick,
John Carradine; Hannah, Mary Howard; Sheriff
Jeb McKane, Eugene Pallette; Tim Dor son. Ward
Bond; Bud Dorson, Guinn Williams; Marty Mc-
Cord. Russell Simpson; Hardy Ragan, Joseph Saw-
yer; Tulle McKenzie, Paul Burns; Barber, Dave
Morris; Fred Ulm, Frank Austin; Miles Tonkin,
Matt Willis.

"YOU'LL NEVER GET RICH"— Columbia.
Original screen play by Michael Fessier and Ernest
Pagano. Directed by Sidney Lanfield. Cast:
Robct Curtis. Fred Astaire; Sheila Winthrop,
Rita Hayworth; Tom Barton, John Hubbard; Mar--
tin Cortland, Robert Benchley; Sonya, Osa Massen;
Mrs. Cortland, Frieda Inescort; Kewpie Blain,
Guinn Williams; Top Sergeant, Donald MacBride;
Swivel Tongue, Cliff Nazarro; Aunt Louise,
Marjorie Gateson; Mrs. Barton, Ann Shoemaker;
Colonel Shiller, Boyd Davis.

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only 10c. Send stamps or coins, mentioning
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nspired soda jerker Jane
Withers who can pull some
fast tricks with taffy

I'VE just come back from spending the
afternoon with Jane Withers and I'm

all agog — so much so that I might al-
most head this account of our visit "Brat
Into Beauty." For beauty is now the
word for Jane; the chubby, mischievous
little monkey whose brat impersonations
I've adored ever since I first saw her on
the screen has blossomed into a junior
glamour girl and her next movie role is
practically a "grownup" one, the star of
Twentieth Century-Fox's forthcoming
"Young America."

More astonishing, though, than Jane's
emergence into slim, svelte sub-deb love-
liness is the discovery that she wrote the
story for her last picture. Perhaps you
won't find her name listed as the author
— Jane modestly prefers to hide behind
a pen name and so far Twentieth Cen-
tury-Fox has been unable to make her
change her mind on this point. But
when you see "Small Town Deb" if
you read "Screen play by Jerry Wal-
ters," just take my word for it that
"Jerry Walters" is Jane's nom de plume
for her first screen-writing venture.

Jane herself met me at the door and led
me upstairs to her "apartment." The
"apartment" is Jane's own particular
nook. It is on the top floor of the house,
where Jane and her gang can romp to
their hearts' content without upsetting
the rest of the household.

The furniture is sturdy, designed for
comfortable sprawling, and the walls are
of paneled wood which makes a perfect
background for draperies and upholstery
of chintz and cretonne. There's a pint-
sized piano and a victrola so that Jane's
cronies can listen to her wonderful col-
lection of records — classical numbers if
they're in the mood for them and the
latest jive if they feel like jitterbugging,
which they frequently do.

hi;

Best of all, the "apartment" boasts a
soda fountain (Janie is an inspired "soda
jerker") and a stove in which the young
hostess prepares the snacks her guests
love.

She admits n.odestly that she's a
"pretty good cook," but it's at candy-
making that she really shines.

"You bet I like candy," she told me. "I
like old-fashioned white taffy and plain
fudge and caramels and I can make all
those."

She used to have trouble with taffy,
but she's proud of the fact that it
"really taffies now." Perhaps this is the
reason why the snack frequently turns
into a good old-fashioned taffy pull. This
form of entertainment, incidentally, is
just as popular in present-day Holly-
wood as it was when your great-grandma
was a girl, so if you want to be a hostess
young-Hollywood style, why not stage a
taffy pull of your own. It's loads of fun
and easy, too, if you just follow this
recipe Jane gave me for taffy which
"really taffies."

White Taffy

1 2 cup light corn syrup

2 cups sugar
-:; cup water

1 tsp. vanilla

Mix together all ingredients except
vanilla and stir over low heat until sugar
is dissolved. Cook without stirring until
a drop of mixture poured into cold water
will form a hard ball (268 degrees F. on
candy thermometer) . Remove from heat,

BY ANN HAMILTON

stir in vanilla and pour onto buttered
platter.

When mixture begins to harden at
edges, work it with a spatula until it
is cool enough to handle. Pull until
light-colored and porous and cut into
pieces.

Fudge

2 squares chocolate
x2 cup dark corn syrup

2 cups sugar

1 tbl. butter
l2 cup milk

1 tsp. vanilla

Mix together all ingredients except
vanilla (the chocolate should be cut into
small pieces). Cook slowly, stirring con-
stantly, until boiling point is reached,
then continue cooking, stirring only
enough to keep mixture from sticking,
until a drop tried in cold water will form
a soft ball (238 degrees F.). Remove
from heat and allow to cool, then add
vanilla and beat until thick. Pour onto
buttered platter and cut into squares.

Caramels

1i> cup light corn syrup

2 cups sugar
4 tbls. butter
1 cup cream

Vz cup milk
1 tsp. vanilla

Mix together all ingredients except
vanilla and cook until mixture forms a
soft ball when tested in cold water (238
degrees F.). Remove from heat, stir in
vanilla and pour onto buttered platter.
When almost cold, cut into squares.

photoplay combined with movie mirror

Our Most Important 1RMCK

Not the truck that hauls the big guns
or moves the army. Not the truck
that delivers gasoline or moves
pianos or carries the mail.

America's most important "truck"
grows in the garden, the truck garden.

• • •

ALL VEGETABLES — especially green
Ix. and leafy ones, yellow ones, roots
and kernels — are vital to the nation's
strength and health. From them come
needed amounts of Vitamins Aand C and
many minerals we cannot live without.
What good would army trucks be if
the army itself were red-eyed, scurvied
and anemic from lack of vitamins and
minerals?

Fresh, canned, dried or frozen — your
green and yellow vegetables are health-
ful and wholesome. Modern packing
and delivery methods are designed to
bring them to you with the least possi-
ble impairment. But you must be care-
ful in the cooking. Save the juices.
Don't overcook your vegetables; don't
add soda. Don't pare away or throw

away valuable parts.

And here is where America's cooks
can add untold values to the nation's
strength and stamina; the richer, more
concentrated foods tend to tempt the
taste. Chocolate fudge is easier to "sell"
at the table than is spinach. So you, the
cooks, must find ways to get more
vegetables eaten. Serve salads, garnish
your vegetable dishes tastefully, serve
a variety of them, serve them at two
meals every day.

Do this job well and you will contrib-
ute just as much to the nation's defense
as any soldier or nurse or statesman.

THE MAGIC FOODS

It takes only a few kinds of simple foods to
provide a sound nutritional foundation for
buoyant health. Eat each of them daily. Then
add to your table anything else you like
which agrees with you.

MILK AND CHEESE — especially for

Vitamin A, some of the B vitamins,

protein, calcium, phosphorus. Vitamin

D milk for the "sunshine" vitamin.

MEAT, eggs and sea food—
for proteins and several of
the B-Complex vitamins;
meat and eggs also for iron.

Attractive displays of vegetables,
special sales and offers of canned
goods are your dealer's way of help-
ing to get more vegetables onto the
nation's tables. Encourage and sup-
port this program our government
has for making America strong.

GREEN AND YELLOW vege-
tables for B vitamins. Vitamin
A, Vitamin C and minerals.

FRUITS and fruit juices— for Vita-
min C, other vitamins and minerals.

This message is approved by the office of
Paul V. McNutt, Director of Defense Health
and Welfare Services. It is brought to you as
our contribution to National Nutritional
Defense by Photoplay- Movie Mirror

BREAD, enriched or whole
grain, and cereals with milk
or cream, for B vitamins and
other nutrients.

Enough of these foods in your daily diet and
in the diets of all Americans will assure better
health for the nation, will increase its ener-
gies to meet today's emergencies.

fvod #/// {wi/</a/V£H//1mer/ca

JANUARY, 1942

How Not to Trim Your Christmas Tree — Laraine Day

(Continued jrom page 34) trick sets of
cosmetics complete with powder base,
eye shadow, lipstick, powder, cleansing
cream and tooth paste; (c) two bottles
of bath crystals; and (d) a utilitarian
kitchen apron, made by the lily-white
hands of a well-meaning but thoughtless
person.

After this recital, Laraine laughed rue-
fully. "I'm not ungrateful, really I'm not.
I just can't bear to think of givers spend-
ing good money on useless gifts. With
the same amount which, annually, is put
into frivolous items that become dresser-
drawer litter, one can buy clever perti-
nent gifts."

The best insurance, according to La-
raine, that one can have against Christ-
mas' being a deluge of disappointment
is a tactful mother. One Christmas,
Laraine's mother gave her a suit. Quiet-
ly she mentioned this fact to a number
of relatives and intimate friends who al-
ways remember Laraine. The result was
spectacular. One friend gave a match-
ing purse; an aunt selected a blouse to
match and one to contrast; Laraine's twin
brother gave her gloves and half a dozen
key-toned stockings. How's that for
making a girl's eyes shine like lighted
candles?

However, the incandescence in La-
raine's eyes nearly blew a fuse that
afternoon when a bowl filled with gold-
fish and little shell castles was delivered
by messenger. "I've never liked the ex-
pression of goldfish anyway; they leer
when they look at you," she says.

To sum up the grievances listed above,
it becomes clear that gifts for girls fall
into three divisions: the "too, too taboo;"
the "give with restraint" and the "kiss

me quick, I'm all agog."

Taboo Gifts

Taboo are clothes hangers and closet
gadgets, as well as those gorgeous satin
envelopes for hankies, nighties, etc., etc.,
unless an extremely adroit campaign has
been launched to find out the color
scheme of the person's room. Pets of all
sorts are out, on the ground that a
welcome gift expresses a compliment
but should not impose an obligation.
Candy, that beloved old standby, is won-
derful in small quantities, but who ever
heard of a little candy at Christmas. Any
girl who has a serious diet afoot is going
to tell a white lie when she thanks you
for several pounds of temptation.

Give-With-Restraint Gifts

Perfume is a delightful gift only when
you are positive that you've chosen the
recipient's pet brand. Recipe for finding
out pet brand goes like this: Say, "Ah,
how does a girl manage to smell like
moonlight and honeysuckle and a pine
forest at the same time?" She will an-
swer, "Oh, this is just the last of my
bottle of Midnight in Arabia." Your cue
is to run, do not walk, to the nearest
notebook and write the brand opposite
the girl's name.

Stockings, especially in these hazardous
days, are a gift from the gods, but be sure
the size is right. Tactic to secure this
information goes thus: "What slim feet
you have! What size shoe do you wear?"
When she tells you, just add three and
you have her stocking size. Now you
know why you took arithmetic in gram-

mar school.

Gloves, particularly high colors such
as red or green or the heavenly new blue,
are brilliant ideas, but the only way to
get the right size in this case is to steal
a pair of her old ones, check for size and
return as inconspicuously as possible.

Jewelry, of course, is an item Emily-
Posted as a proper gift only for an en-
gaged girl from her ring-master.

Kiss-Me-Quick, I'm-AU-Agog Gifts

Under this heading belong such things
as monogrammed handkerchiefs or sta-
tionery.

Any monogrammed item, in fact, gives
that "This has been planned for you"
touch to a gift.

Laraine says that every girl she knows
would adore a heroic-sized purse in some
high color to brighten a wintry black suit
or to dramatize a fur coat.

Miss Day, speaking again, says sensibly,
"Every girl, whether she is living at
home or has an apartment, likes to have
sets of really nice silver, china and
glassware started for her. One crystal
goblet, accompanied by a note to the
effect that it is the initial member of a
set to follow at holiday intervals, isn't
any more expensive than some foolish
gimcrack that will have been forgotten
by February tenth. One good demi-tasse
cup, or one piece of sterling flatware are
forever-and-aye gifts and, comparatively,
they aren't expensive."

There's no doubt about it: Christmas
is a great Day. And so, you'll agree after
studying the Yuletide yummies above, is
Laraine.

The End

How Not to Trim Your Christmas Tree — Jeffrey Lynn

(Continued from page 35) lanky fur.

Don't, please, please don't give your
giftee one of those matched toilet sets
unless you are quite positive that you
know his taste.

Cigarette lighters, while an impressive
gift to open, are soon foiled by human
laziness, according to Jeffrey. He says
that every time a man buys a pack of
cigarettes he is handed a book of
matches which are convenient and dis-
posable. He may carry a lighter for a
time, but the first time the flint wears
out or the fluid is exhausted — clunk!
the lighter is dropped into the top dresser
drawer!

Diffidently, Jeffrey broached one of the
more delicate Yuletide subjects. There
seems to be a tendency upon the part of
the more photogenic sex to give itself
in tinted miniature or white leather
frame, to be set on the boy friend's desk
or bureau. As time goes by, this year's
camera cutie gives place to next — or
worse, the new photograph is superim-
posed over the old. So don't have a
picture taken for a man unless you are
engaged to him and the wedding date is
set. Otherwise the day may come when
some man's wife will be laughing at the
way you looked in that hat.

(SHOULD think I've spread enough
gloom," opined Jeffrey, smiling. I
don't believe in criticising a system un-
less I can offer some constructive com-
ment once the kicking is done. Now
that I've growled out a lot of don'ts, how
about my giving some do's?"

See? That's what they mean in Holly-
wood when they say Jeff is on the beam.

To begin with the Small-Remembrance
Department: If a man smokes, a carton

of his favorite brand is always a slip-
proof present. Books have to be carefully
chosen, but they are appreciated. For
instance, if you'- A.W. (amateur wolf)
gives after-dinner speeches at school or
in business, a collection of famous quo-
tations will give him that Flattered Feel-
ing. If he's a ham, find out what technical
radio book he'd like to have. While we're
on the subject of reading matter, there's
no more lasting gift than a subscription
to his pet magazine.

"But the fastest way to a man's heart,"
explains Jeffrey, "is by way of his favo-
rite sport."

If he skates, check to find out whether
he has a good pair of blade guards. If
your present dares swoop over to the
lavish side, how about one of those
Swedish wind-resistant jackets that turn
zero blasts to zephyrs.

For the hunter there is no more Christ-
masy — and precautionary — gift than a red
shirt. Or a red shirt AND a red wool
jacket AND a red knitted cap.

When he isn't hunting in this garb, you
can stand him in the window as a Yule-
tide candle.

A boy who has a nice racket — either
tennis or badminton — will let you muscle
in to the extent of providing a good
press. If he already owns a press, how
about a can of birdies, or a dozen tennis
balls?

"Of course," Jeffrey forestalled an ex-
pected complaint, "so many girls want to
give something that can be kept forever.
Unfortunately, most men aren't a third
as sentimental as girls are. They don't
care how long a present lasts if it is use-
ful while it lasts. And at Christmas the
prime idea is to please the receiver, not
to satisfy one's own desire for perpetuity."

If your heartbeat is a golf whiz, give
him a set of golf mittens for his club.
And the score on the sale slip will be
way below par.

For the fisherman, there's nothing quite
like a tackle box. If your honey already
has one, he'll develop a gleam in his eye
when he unwraps an assortment of dry
flies.

"What about a gift for a boy in camp'?"
Mr. Lynn was asked.

Jeffrey thought gifts for the military
should be divided into three groups: those
under ten dollars in price; those under
twenty-five dollars; and sky's-the-limit.

Under ten dollars, an order for a carton
of cigarettes to be shipped once a month
for six months is a bull's eye. So is a
year's subscription to a weekly maga-
zine. Monogrammed handkerchiefs and
a small steel strong box with a stout lock
for the preservation of personal gadgets
would be welcome. Stationery (with
envelopes unlined) falls into the gentle
hint department.

Under twenty-five dollars, you can
get a compact portable radio — the smaller
the better. You can order a box of fancy
foodstuffs to be sent to him each month.
How about an electric razor, or a good
traveling bag if his is getting scuffed?

If the sky really is the limit, don't be
bashful. Write to him and ask him out-
right what he wants for Christmas, bar-
ring an honorable discharge.

"And what do you, personally, want
for Christmas, Mr. Lynn?" we asked.

His answer proves that men, no matter
how suave and intelligent, can still be
present-problems. "Gosh," he said,
rumpling his hair. "I don't know."

Well. Merrv Christmas, anyhow.
The End

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PHOTOPLAY-MOVIE MIRROR READERS GIVEN

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my favorite cigarette

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DISTINGUISHED DESIGNER

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IETITE and charming. Leslie Morris
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suit of her own design... navy wool frosted
with ermine lapels. Noted for her magnificent
interpretation of the simple, she seasons a
red wool sheath with a jacket embroidered
in gold thread, banded in mink. "All the
time I'm smoking a Camel," she says. '"I en-
joy it thoroughly. So much milder — and full
of marvelous flavor ! My guests prefer Camels,
too. so 1 buy my Camels by the carton."

AT LEFT, a distinctive Leslie
Morris silhouette of flame-blue
velvet. ..diaphanous star-studded
veil. Prominent among designers
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They're grand-
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CAMEL

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Mary's eyebrows now
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y HAD A LITTL

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She was dainty and sweet.

Her nose was ALWAYS carefully powdered

a ■ *t the RIGHT shade of lipstick,
\nd she used just the Kion
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About her EYES was that they were -well,

Just a— MAYBELLINE advertisement,

One day Mary read a MAY B^

Just as you are doing, and
LOOK at Mary NOW!

MORAL-. Many a girl has beaten her
rival by an EYELASH!

WORLDS

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F Y E

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['m in love with life!"

So wake up, plain girl— wake up and
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own small world— you can win compli-
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But your smile must be right. It must
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So if you ever notice a tinge of "pink"
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RUARY, 1B42

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,-C.Oi:

Swn

Published in
this space
everymonth

The greatest
star of the

Begins the nineteen hundred and forty-
second Annum Domini and the third
year of this column.

• • • •

May our foes wither like the chilled
leaves. May Decency find, with re-
newed vigor, the mislaid path plotted
in the year one.

* * • *

So wisheth the philosopher Leo, Coeur
de Lion.

• * * •

Each of us, in
his own way, has
his job to do.
And ours is to
entertain, to di-
vert, to interest,
to serve.

We offer the best
that the screen can provide. With each
year t he movies come to fuller flower. In
addition to technique they have mas-
tered pace and the tempo of the times.

• • • •

When you see — and you will see —
Spencer Tracy and Katharine Hepburn
in "Woman of the Year", note this
blending of action, merriment and
modernity.

• * * •
It's the snap-
piest yarn that
has come to the
studio editor in
many moons.

• • * *
Spence plays a
hail-fellow sports

writer named Sam. Kate plays a high-
brow political columnist named Tess.

• • • •

Tess gets pretty stuffy about sports and
one day Sam takes her to the ball game
where she asks some pretty cute ques-
tions, to the disgust of the press box.

FEBRUARY. 1942

VOL. 20, NO. 3

It's either war or love twixt Sam and
Tess. All's fair in both.

• • • •
But, baby, what comedy comes out of
the mixing of the two worlds— the peo-
ple and the tall brows. That party where
those who came over in the Mayflower
rub elbows with the boys who are more
on the cauliflower side.

* • • *o\/

"Woman of the.
Year" is the Pic-
ture of the Yi i!

Advertisement fur Metro -(juldwyn -Mayer Picture*

ERNEST V. HEYN nTTl QD Y¥ O CB~ HELEN G1LMORE

Executive Editor IOO EI 1 g< TT\ (3D TT^ Associate Editor

HIGHLIGHTS OF THIS ISSUE
This Is How It Really Happened James Reid

For the first time the dramatic truth about Gene Tierney's marriage from Gene
herself

Hollywood — Beware in 1942! Matilda Trotter

A reliable astrologer gives you the '42 futures of your favorite stars

This Above All Fiction version by Norton Russell

A man and a girls struggle against a love they both try to deny

When G-Girls Get Together Jerry Asher

Letting down the pompadour on the Ann Sothern-Hedy Lamarr situation

Will You Ever Be Rich? Marian Rhea

Exposing a few ingenious $ systems of bright young stars

Portrait of a Shy Glamour Girl Joseph Henry Steele

"Things you never knew before" department on Rita Hayworth

The Editor Receives an Appeal

A young California private takes over Photoplay-Movie Mirror

It's Hollywood's Private Opinion Hedda Hopper

Some question-mark rumors are smoked out by a dauntless columnist

Bob Sterling — Next for Fame Helen Louise Walker

Ida — the Mad Lupino Howard Sharpe

Round-up of Pace Setters Sara Hamilton

Five winners are chosen for special introduction to you

Stop Crying!

Instead try the Lucille Ball way to happiness

The Truth about Stars' Charities

Helen Gilmore
"Fearless"

46
50
54

Color Portraits of

These Popular Stars:

Nelson Eddy 35

Hedy Lamarr 37

GLAMOUR

Errol Flynn 42

Portraits:

Robert Sterling 47

Fred MacMurray 57

Rita Hayworth 40 Cary Grant 66

'Louisiana" Lovelies

The best buy you've had in years — "Louisiana Purchase'

FASHIONS, BEAUTY NOTES AND DEPARTMENTS

Close Ups and Long Shots — Ruth
Waterbury 4

Inside Stuff— Cal York 6

Speak for Yourself 16

Brief Reviews 18

So You Want to Be Pretty! 20

The Shadow Stage 22

Fashion Valentines for Judy 61

Star Finds in the Stores 68

Casts of Current Pictures 99

COVER: Ann Sothern, Natural Color Photograph by Paul Hesse

PHOTOPLAY combined with MOVIE MIRROR is published monthly by MACFADDEN PUBLICATIONS, .INC.. Wash
ington and south Avenues, Liunellen. New Jersey. Editorial offices. [22 East 42nd St., New \ork N.Y. Execu-
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Prut i ,; l S. A. by Art Color Printing Co.. Dunellen. N. J.

photoplay combined with movie mirror

A MERVYN LeROY Production with

EDWARD ARNOLD w

VAN HEFLIN ROBERT STERLING PATRICIA DANE
GLENDA FARRELL HENRY O'NEILL- DIANA LEWIS

Screen Play by John Lee Mahin and James Edward Grant

A METRO -GOLOWYN- MAYER PICTURE • Directed by MERVYN LeROY

Produced by JOHN W. CONSIDINE, Jr.

You're cruel, Johnnie. You're al-
most 100% bad. But whatever
you are, darling, you're my man.''

CLOSE UPS

JUST as the democratic world itself
is losing some of its fear and sees
in the future the true hope of
peace and victory. Hollywood is
emerging from its small frights at the
beginning of this year of 1942 . . . and
looking forward to happier things . . .
1941 has taught it much . . . the
world's need for laughter, for one
thing . . . the world's yearning for
youth, for another. . . .

The Bioff case is settled and done
with, with Willie duly sentenced . . .
anti-Nazi films are done with . . . not
because Hollywood doesn't hate Hitler
as violently as it always has . . . but
because you and I have shown we
have enough and to spare of war and
hatred and fear from our radios and
newspapers daily and that we do not
care to go to the movies to get more
of it . . . the musical comedies and
the comedians, musical or otherwise,
are coming in . . . and in its secret
councils this January Hollywood now
talks of several new personalities . . .
and several that are not new but who
are changing. . . .

All the "safe money bets'' of Holly-
wood are now being staked on the
career of Alexis Smith, that stunning
girl who appeared so briefly in "Dive
Bomber" ... as much as Paramount
believes in Veronica Lake and Metro
believes in Pat Dane, Warners be-
lieves— and doubled — in Alexis ... it
isn't because Miss Smith is at once
beautiful and "different" ... so many
girls are "new and different" in
Hollywood . . . every year in every
studio six or eight girls who will fit
that description are signed up and
almost every year another six or eight
girls who formerly could be so desig-
nated are dropped . . . can you, for
instance, tell me right off quick who
is the "T.N.T." girl? There was one,
signed and so entitled only last year
by a certain studio. . . .

So why does inner Hollywood think
Alexis Smith will survive where the
others failed . . . for this reason . . .
Alexis is a worker . . . she is a worker
in the way that Paulette Goddard is
. . . and Rita Hayworth . . . and the
way Joan Crawford was when she
began . . . Alexis takes ballet . . .
Alexis takes singing . . . Alexis takes
diction lessons . . . she cooperates
with the publicity department . . .
with the wardrobe department . . .
with the production department . . .
she is in nobody's hair and in every-
body's good graces at her studio . . .
and she is in her earliest twenties
and very, very beautiful . . . they say
Alexis will be an important star
within the next two years and they
point to Rita Hayworth, the young,

Hollywood's bad boy is John Carroll
who sasses directors and clowns his
way through things that are serious

AND LONG SHOTS

Hollywood's good girl is newcomer
Alexis Smith who is in nobody's
hair and everyone's good graces

BY RUTH WATERBURY

cooperative and beautiful, to prove
that it can be done. . . .

Hollywood talks anew about Ann
Sheridan these evenings . . . Annie
who never was very serious about her
career until now . . . that is, unless
she concealed her real feelings abso-
lutely miraculously . . . the whole
town knows, of course, about the
pushing around Annie got at Para-
mount and about the somewhat
flukey accident by which Warners
decided to make Ann their "oomph
girl". . . .

But now that the much-publicized
Brent-Sheridan romance is cancelled,
all the wise boys see a change in
Annie . . . they even wonder if
some of the Brent intellectualism,
some of the Brent detachment and
breadth of view may not have touched
Ann. . . .

At any rate, whatever it is, it has
made her a different actress in "Kings
Row" than she has ever been before
. . . she is so good, in fact, that now.
long before the film is released and
long before her option was due to
come up, Warners have signed her
for an additional five years . . . mak-
ing it nine in all that they expect to
have her on their lot . . . and as for
Ann herself she is studying charac-
ter make-ups as never before, going
in for costume stills, fittings, hair-dos
and all the things that hitherto,
around Warners, have been the ex-
clusive activities of the Misses Davis
and Lupino, who do not regard ca-
reers lightly. . . .

AMBITION, energy, self-denial,
study . . . those are the winning
qualities that turn unknowns into
celebrities in Podunk . . . remember
the case of Wallis Warfield, that un-
known little girl of Baltimore who
was to upset the throne of England
. . . and these qualities are even more
winning in Hollywood . . . but it is
hard, indeed, for some personalities
to submit themselves to these de-
mands ... as Lana Turner is learning
... as John Carroll hasn't yet learned
and perhaps never will. . . .

In the inner councils of M-G-M
they never expected Lana Turner to
become their most important young
woman star . . . that spot they had
reserved for Judy Garland and after
her Hedy Lamarr and after her pos-
sibly Ann Rutherford . . . they didn't
bet on Lana because of her unpre-
dictable character . . . her moodiness
. . . and Lana wasn't prepared to bet
much on herself, either, as she proved
when she very nearly and very gen-
uinely i wavered on the brink of
giving up her (Co7iti?iued on page 83)

photoplay combined tvith movie mirror

OIM&S

a**1*1

tov*

AM5S4^F

/y recHNtcoLox

.» FLORA ROBSOW • LEO 6. CARROLL
MARY ANPERSOAI • CECIL KELIAWAY

Produced and Directed by EDWARD H. GRIFFITH

Screen Ploy by Virginia Van Upp Based on a story by Nelson Hayes A Paramount Picture

ASK YOUR THEATRE MANAGER WHEN THIS BIG PARAMOUNT HIT IS COMING

BRUARY. 1942

Mickey the Rooney makes up to pep
up Virginia Hill's party at the Coun-
tess Sonia Cafe. If you want to see
the lovely he brought, look on p. 45

Big night for romantic twosome was the opening
of the new Trouville Club. Bob Stack and Elyse
Knox got handclaps as the most attractive couple

BV Ml fORK

PHOTOGRAPHS BY HYMAN FINK

Some of this Hollywood news will leave you surprised; some will have you very much
concerned for your favorites; most of it will have you chuckling right out loud

EVENTS OF THE MONTH: The
opening of the new Trouville
Club brought out the young peo-
ple in romantic droves. Happy, as
always, were Martha O'Driscoll and
her steady beau Richard Denning.
Ann Rutherford and her "platonic
friendship" beau, Rand Brooks, danced
every dance. Bob Stack and Elyse
Knox, a lovely, attracted the most
attention. What a handsome pair!
The fabulous Virginia Hill, the gal

who arrived in Hollywood unknown
and has captured the fancy of the
whole town with her lavish spending
(Virginia says it's alimony) gave an-
other of her "come one, come all"
jamborees and younger Hollywood
showed up in costumes that rioted
the guests. Mickey Rooney, in wig
and blacked-out teeth, won the home-
baked bobsled, hands down. Frances
Neal and Ava Gardner thought
Mickev too clever. That Mickey sure-

ly knows how to pick 'em, all right.
Mr. and Mrs. Tom May. parents of
Ann Rutherford's best beau. David May.
provided a swellelegant birthday party
for Ann with all the younger set gath-
ered round to blow horns, wear paper
caps and blow old-fashioned soap bub-
bles. The happily married young
couples, Judy Garland and Dave Rose,
Anne Shirley and John Payne, Deanna
and Vaughn Paul, had more fun than
a barrel of (Continued on page 8)

photoplay combined with movie mirrob

There never was a better rea-
son for "going to the movies"
. . . 'cause there never was a
better movie to go to!

The most laughed-at play of
our day — with this wonderful
Warner Bros, cast (including the
play's celebrated star) to make
it even greater as a picture!

A WARNER BROS. PICTURE from the play by famous GEO. S. KAUFMAN and MOSS HART • Produced by Sam H. Harris
with RICHARD TRAVIS • BILLIE BURKE • REGINALD GARDINER • Directed by WILLIAM KEIGHLEY • Screen Ploy by Julius J. and Philip G. Eostem

jnM«otuf[

Soap-bubble bri-
gade that cele-
brated Ann's birth-
day was led by
John Payne with
h i s wife Anne
Shirley acting
as cheerleader

Lew Ayres and Hedy
Lamarr get together for
charity, meet at the
Assistance League to
formulate a set of
"do unto others" rules

Above: The younger
set dons orchids and
comes to the Ciro's
party given for Ann
Rutherford by the
Tom May , parents of
her best beau, David
May, an incident that
made Hollywood
start talking about a
Rutherford - May
Yuma elopement

(Continued from page 6) monkeys
and, as usual Mickey, the Rooney,
was all over the place. That happy,
happy twosome, Jackie Cooper and
Bonita Granville, had to leave early
because of an early call to the set.

The younger set is writing a new
song these days. It's a blues tune
called "When It's Early Shooting
Time In Hollywood."

Over at the famous Assistance
League for luncheon, Cal was amazed

to discover Lew Ayres, Hedy Lamarr,
Linda Darnell, Irene Dunne, Jane
Wyman and others all gathered about
one table. They explained they were
the committee to visit the different
organizations that receive help from
the Community Chest and invited old
Cal to join the trek. We missed noth-
ing— the children's hospitals, nursing
homes, free clinics and all. If you
think Hollywood hasn't a charitable
heart, you should have seen us at the

end of that tour, our hearts too full
for words. And maybe those stars
didn't go forth with their messages of
"do unto others" throughout the
homes of friends and stars.

At Ciro's the community gathered
in the cause of another charitable
mission — to bring refugee artists,
scientists and scholars to this country,
that their cultural achievements may
be a blessing to us and the world.

Orson (Contiiiued on page 10)

photoplay combined with movie mirror

/ rtever nea/ecTmy c/a/'/y

f "Here's all you do to take a Lux Soap
*- facial," says this famous screen star. "First
pat Lux Soap's lather lightly in."

"Then rinse with warm water
follow with a dash of cool
— and pat your face gently with a
soft towel to dry."

how softly smooth it feels —
how fresh it looks! This facial's
a wonderful beauty care. Try it!"

9 out of IO Screen Stars use Lux Toilet Soap- /fepc/A£/ &6as/icr/t& /*/&&■/ /te*f /a?/

FEBRUARY, 1942

Have you ever used

Internal
Protection?

Tampons are no mystery these
days. Every month more and
more women discover the won-
derful freedom of internal san-
itary protection. But in choos-
ing a tampon, make sure it's
truly modern, scientifically cor-
rect. OnlyMeds — the new and
.improved Modess tampons —
have the "safety center."

Safety Center F
What's that ?

The "safety center" is an exclusive
Meds' feature that nearly doubles the
area of absorption. This means Meds
absorb faster — and so surely — you can
forget needless fears. Meds are made of
the finest, pure cotton — they hold more
than 300% of their weight in moisture.

tA woman's doctor did it?

Yes, a leading gynecologist —
a woman's doctor — designed
Meds. They are scientifically
shaped to fit. As for comfort,
you feel as free as any other
day! Nothing to pin! Nothing
to bulge or show! No odor
worries! Easier to use, too —
each Meds comes in a one-
time-use applicator that ends
old difficulties.

*Sut don't these special
features make Meds
cost more ?

Not at all! Meds cost less than any other
tampons in individual applicators. No
more than leading napkins. Try Meds
and compare! You'll be glad you did.

BOX OF 10-25^ • BOX OF 50-98^

Meds

The JHodess Tampons

(Continued from page 8) Welles and
Ida Lupino presided and never has
Cal heard more stirring speeches than
the ones delivered by these two. We
motioned to Hymie to catch with his
camera the little byplay as Orson
passed Dolores Del Rio, to face his
audience. Reaching down he ten-
derly kissed her hand. What a gallant
gentleman that Welles genius!

Hedy Lamarr with Tim Durant was
the center of all eyes. John Carradine
with his droopy face foliage drew a lot
of giggles; Rudy Vallee created a stir
by escorting a blonde for a change;
Mickey, the old Romeo, brought those
two lovelies, Ava Gardner and Anne
Harris; Eddie Lowe and Lady Fur-
ness accompanied funny man Frank
Morgan and his wife. When Holly-
wood puts its mind and heart into a
thing, you can be sure it carries
through to a successful finish.

Cal Calls on Alice: The minute we
heard her voice on the phone we
knew it was Alice Faye. "If you're
not tied up this afternoon come on
out," she urged. "Haven't seen you
in ages."

We needed no more invitation than
that, for Alice Faye Harris is one of
our favorite people and kindest
friends. And besides, we confess, we
were curious to see how Alice, who
knew only the bright lights since she
began with Rudy Vallee's band at fif-
teen, was taking her self-imposed year
of exile.

Out Ventura Boulevard to the scat-
tered little community of Encino we
jogged along, thinking of Alice and
her past unhappiness.

A left turn brought us into a coun-
try lane and at its end, nestled against
a hill, was Phil Harris's house, the one
Alice had moved into after her mar-

nAide Stuff

Seeing stars on Santa Claus
Lane: Irene Rich is Grand
Marshal of Hollywood's big
annual Christmas parade

Santa Claus lost the lime-
light when Rochester, in
boss Benny's car, whizzed
by. Back-seat driver is
the imposing Carmichael

riage to the band leader.

We could hardly believe our eyes.
The quiet, calm self-confidence of
Alice, the beauty and taste of the
home, redone by Alice, rose like a
misty dream between this new mature
Alice and the one we'd known years
before.

She spoke of her year out for moth-
erhood. "I think I've earned it, don't
you?" she asked anxiously. If Alice
hasn't, no one has. But time out for
motherhood isn't the "thing" in
Hollywood, with stars working within
a few weeks before the baby's arrival.
The loss of salary, the fierce competi-
tion among stars plus the chance of
being forgotten by the fans keep them
going — sometimes beyond their
strength.

All these have been put behind by
Alice. Having a baby is to her the
greatest blessing in the world and
Alice is willing to take any chance for
its sake.

Phil came in while we were there
and let old Cal tell you this: We drove
back down over Laurel Canyon in the
purple glow that passes for twilight
out here with the assurance that we'd
seen that rarest of rarities in Holly-
wood— a couple with complete content
and happiness in each other.

But how many stars in Hollywood
ever achieve that?

photoplay combined with movie mirror

Grinning Hope greets his grinning
public on Santa Claus Lane clad
in satin, riding a swayback horse.
Other star paraders included Burns
and Allen, Edgar Bergen and C.
McCarthy, Baby Snooks and Daddy

Guess What? Barbara Hutton gave
!ary Grant a complete new dining
aom, done by a famous decorator, as
n "appreciation" gift. Guess Bar-
ara appreciated Cary's gesture in
Arsenic And Old Lace." Cary gave
is entire salary for this role to
harities (see page 67).

Incidentally, Barbara is growing too
iin these days for even fair looks,
[er Hollywood friends are concerned
ver her frailty.

Lt. Fairbanks is Seasick But a Sue-
ess in the Navy: "The Corsican
brothers," Douglas Fairbanks Junior's
ext film will show that energetic son
I an athletic father bounding about
le decks of a rollicking pirate ship
dth gusto. The vessel rolls and
Lunges like a runaway whale in the
eavy seas of the story. And young
•oug is as serene as a Bishop at a
;a party.

Not so undisturbed by the wild
raves is Lieutenant (junior grade)
•ouglas Fairbanks, Jr., United States
[aval Reserve, according to word re-
sived from Iceland, where Doug
ame ashore recently after his first
ruise on one of our battlewagons
atrolling the North Atlantic.

"I was seasick several times," glum-
r admitted Doug to reporters at
Reykjavik, U. S. base in Iceland. "And

was pretty scared a couple of times
rhen our rolling destroyer was hunt-
lg U-boats," Junior was frank
nough to confess. "But," he added,
the Captain told me that everyone
ras scared the first time."

Whether or not Lt. Fairbanks is a

Even at winter parties-
it's August under your arms!

Guard popularity, prevent underarm odor with Mum!

WINTER is a season of wonderful
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girl is popular! So don't let underarm
odor come between you and social suc-
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tiness with sure, dependable Mum!

Even though you see no warning trace
of moisture, underarms always perspire.
Heavier clothing and heated rooms en-
courage danger for the girl who foolishly
thinks that, in winter, she doesn't perspire!

Everyone does! That's why it's so fool-
ish to trust just a bath to keep you sweet.
A bath only removes past perspiration,

but Mum prevents risk of future under-
arm odor. Use Mum for:

SPEEDI 30 seconds to use . . . protects for
a whole day or a whole evening.

SAFETY! Mum has won the Seal of the
American Institute of Laundering as be-
ing harmless to fabrics. And Mum won't
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DEPENDABLE! Mum guards charm, not by
stopping perspiration, but by preventing
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ant, creamy, fragrant— you'll like it! Get
Mum from your druggist today:

WINTER WARNING: DAINTINESS IS NOW IN DANGER!

OF COURSE WE PERSPIRE
IN WINTER. ELLEN. AND
WARM CLOTHES CAN

MAKE THINGS WORSE
I ALWAYS USE MUM

TO HERSELF:

WHAT A GRAND PARTY!

AND MOM HAS KEPT ME

FRESH THROUGH ALL THESE

HOURS OF DANCING

For Sanitary Napkins

More women prefer Mum for
this me, too, because it's gentle,
safe . . . guards charm. Avoid
offending— always use Mum.

MUM

■"Has to xt*"*

Product of Bristol-Myen

Mum

TAKES THE ODOR OUT OF PERSPIRATION

BBRUARY, 1942

!':

nAide Stuff

Two stirring speech-
makers for refugee
charity: Ida Lupino
and Orson Welles

JEAN PARKER — appearing in
Paramount's "No Hands on the
Clock" — uses GLOVER'S once a
week — leaves it on hair over-
night— shampoos next morning.

Use GLOVERS Medicinal

Treatment, with Massage, for Loose

Dandruff, Itchy Scalp and

Excessive Falling Hair!

Movie stars know the importance of using
the right treatment! If you've tried scented
hair preparations without results, switch
now to this famous MEDICINAL Treat-
ment, used by millions. Try GLOVER'S,
with massage, for Dandruff, Itchy Scalp and
excessive Falling Hair. You'll actually feel
the exhilarating effect, instantly! Ask for
GLOVER'S at any Drug Store.

SEND COUPON TODAY

Here's a convenient way to convince yourself! Send
loday for a generous complete FREE application of
Glover's Mange Medicine— also the New GLO-VER
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Two Bottles, FREE! Glover's
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GLOVE R'S

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Send I R I I samples. Glover's Mange Medicine
and new GLO-VER SHAMPOO in hermetically
scaled bottles. I enclose 3<* to cover postage.

Name

Address

good sailor, he certainly is a success
as press and public relations officer
aboard the destroyer, a duty to which
he has been assigned for three months.
At Reykjavik, where the Icelanders
have been grumbling over alleged lack
of consideration and courtesy by
American troops stationed there, Fair-
banks was a one man good-will mis-
sion. Hundreds of Icelandic girls lined
up in front of his hotel, seeking auto-
graphs as avidly as the Broadway
brigade of fans who congregate on the
pavement outside New York's "21."
Admirals, resplendent in gold braid,
won no second glance from the Ice-
landers. But a Hollywood star in a
Navy uniform was enough to start a
near riot in Reykjavik.

Fireman, Spare My Patience: The
funniest story of the month was told
Cal by our friend, Bill Powell, who
had just returned from Del Monte.

Bill and his wife had gone for a
walk and upon returning to their hotel
bungalow discovered the living room
ablaze. Bill leaped into action doing
his bit to extinguish the fire. Other
hotel guests set to work aiding fire-
man Bill, each assuming the other had
notified the fire department.

Finally, Bill rushed to the phone
and rang the hotel office. "Isn't some-
body going to do something about this
fire?" he demanded.

The management, not catching on
that Bill's bungalow was about to
burn down, apologized for the "de-

li:

lay" and promised to right matters at
once. They did, too, providing a
climax that movie comedies would
envy. They immediately sent a boy
over with an armload of wood and
kindling for Bill's fireplace!

Cal's News Items of the Month:
While Gene Autry was in the East,
his beautiful $250,000 mansion in
North Hollywood burned to the
ground. Fortunately, Gene had trans-
ferred most of his priceless trophies
to his beautiful Valley ranch.

A sign over the Twentieth Century-
Fox door of Count Oleg Cassini, who
is designing clothes for "Tales Of
Manhattan," reads "Miss Gene Tier-
ney not allowed in this office during
working hours."

Miss Tierney's the Count's wife. If
you want particulars on the Tierney —
Cassini setup, see page 28.

Mischa Auer, Russian comic, and
Joyce Hunter will honeymoon on a
personal-appearance tour.

When Ruby Keeler, divorced spouse
of Al Jolson, married John Lowe.
Pasadena socialite, it became, as usual,
a family affair, with Ruby's brother
Bill acting as best man, her sister
Gertrude, matron of honor, her sister
Helen, chief spokesman to the press,
and her mother in the front seat nod-
ding her approval. 'Tis said Ruby re-
linquished heavy alimony from Mr.
Jolson to wed Mr. Lowe.

Hollywood chuckled over the fact
levelheaded Roz Russell refused to

photoplay combined with movie mirror

allow her honeymoon to interfere with
business. Three days after she'd ar-
rived in Miami with bridegroom Fred-
die Brisson, Roz wired Hollywood
about an available part in the "Tales
of Manhattan" series, the seven-part
episode of a dress suit. These Holly-
wood gals just can't keep their minds
off business — honeymoon or no honey-
moon.

Reginald Gardiner, who is attempt-
ing to rekindle the spark with Hedy
Lamarr, called on Hedy one evening
and discovered her girl friend Ann
Sothern was to be on hand for the
evening. For three hours Reggie en-
tertained the ladies with his imitations.
As he rose to leave he said, "Next
time I'll bring along a boy friend for
your girl friend."

See, fellows, it even happens in
Hollywood.

Cal hears Annie Sheridan is seeing
less and less of George Brent. After
all, a gal can't give the best years of
her life to a confirmed non-marriage
addict with all the Army, Navy, Air
Corps and Marines ready and waiting.

Lili Damita has filed those divorce
papers against husband Errol Flynn,
alleging great mental and physical
anguish, plus suffering and extreme
cruelty at the hands of Mr. Flynn,
who plays only dashing gallant heroes
on the screen.

If this ain't a woild!

The cynical Mr. Sanders, who dotes
on anecdotes relating to his extreme
sinfulness in life, turns out to be a
normally happy man, according to
latest reports. The bride is said to be
Elsie Larson.

Boasting, Georgie, or just wishful
thinking?

Ted North and Mary Beth Hughes
are the newest romantic pair with that
wedding-ring ceremony on their
minds.

Wendy Barrie is sporting topaz

Beauty plus talent equals a good
pose at a Ciro's party: Edgar Ber-
gen, Fay McKenzie, Billy Gilbert

New Loveliness Awaits You!
Go on the

CAMAY "MILD-SOAP7 DIET !

This lovely bride is Mrs. E. C. Thuston, Jr., of Birmingham, Ala. who says: "I'm
so proud of my complexion since 1 changed to the Camay 'Mild-Soap' Diet!"

This exciting idea is based on the
advice of skin specialists — it has
helped thousands of lovely brides!

NEW LOVELINESS may await you in the
Camay "Mild-Soap" Diet. For you
may be blissfully unaware that you are
cleansing your skin improperly. Or that
you are using a beauty soap
that isn't mild enough.

Everywhere you'll find
charming brides like Mrs.
Thuston who have trusted
the care of their complex-
ions to the Camay "Mild-
Soap" Diet. All are visible

proof that this thrilling beauty treatment
really works for loveliness!

Skin specialists themselves advise reg-
ular cleansing with a fine mild soap.
And Camay is not only mild— it's actually
milder than the ten famous beauty soaps
tested. That's why we urge you to "Go
on the Camay 'Mild-Soap' Diet!"

Be faithful! Use gentle
Camay night and morning
for 30 days. With the very
first treatment you'll feel
your skin glow with new
freshness. Then, as the
days go by, thrilling new
loveliness may be yours!

GO ON THE "MILD-SOAP" DIET TONIGHT!

Work Camay's milder lather over your skin, pay-
ing special attention to the nose, the base of
nostrils and chin. Rinse with warm water and
follow with thirty seconds of cold splashings.

FEBRUARY, 1942

Then, while you sleep, the tiny pore openings are
free to function for natural beauty. In the morn-
ing—one more quick session wi th this milder
Camay and your skin is ready for make-up.

Testing ^' 1941 .1
December 6.

Right: Ciro's sits up and
stares at Marlene Dietrich
in a shou Ider less dress
having dinner with French
star of the moment Gabin

Organdy Curtains
Like New After
18 Launderings

Comparative Starch Tests Prove
Linit-Starched Fabrics Last Longer

Do your curtains have the crisp,
fresh, cheerful look of brand new
curtains after 1 8 washings ? . . . Better
switch to Linit— the friend of fine
fabrics! Linit penetrates the fabric,
starches evenly, covers tiny fibres
with protective coating. Curtains
starched with Linit not only look
beautiful, they stay clean-looking
longer; iron easier, too.

ALL GROCERS SELL LINIT

PENETRATES the FABRIC
PROTECTS the FIBRES

The Mocambo gets a shock when
it gets a look at a new Lupe
Velez, dignified and blonde,
with writer Erich Remarque

hair, of all things, which reminds us
that Hollywood beauties are running
every which way these days, trying to
decide on a permanent hair color. Rea-
son? Hair dye is growing scarcer due
to defense needs for chemicals.

Joyce Matthews up and got mar-
ried to funny man Milton Berle.
Counting ever-present Mama, it looks
like a permanent threesome.

Buy Wifee a Lollypop, Boys: The
eyebrow-raising tendency among
eligible Hollywood males to take child
brides is spreading in all directions at
once, leaving the young ladies in their
twenties with something to think
about.

It was the thing, in Grandma's day.
for a girl to marry early and settle
down. A young woman of twenty-
three or twenty-four was well on her
way to a stolid old-maid-hood. Then
ideas changed and sweet sixteen went
back to her basketball playing.

But look at Hollywood today. Bill
Powell in his late forties marries
Diana Lewis, scarcely twenty, and
proves youth and middle age can live

happily together. A writer who was
interviewing Bill one day heard a
commotion out in the hall.

"It's probably Mrs. Powell sliding
down the bannisters," Bill explained
philosophically to the visitor.

"Back to school for three weeks
more," was the Board of Education's
verdict for Jean Wallace after her
elopement with Franchot Tone. Jean,
who wasn't quite eighteen at the time,
was compelled under the California
law to finish her school course under
a tutor. And Franchot himself is a
lad in his late thirties.

Ken Murray, fortyish and funny,
and his eighteen-year-old bride Clea-
tus Caldwell are very happy. "She
offers no objection to my pipe smok-
ing," Ken told us, "and I'm careful not
to knock over her blocks."

Nineteen-year-old Judy Garland
became the bride of thirty-some-
old Dave Rose, and sixteen-year-old
Lois Andrews not only married
Georgie Jessel, who is comfortably
ensconced in his middle years, but
has now become the mother of his
child.

If this keeps up, there's no telling
where it will end, perhaps with the
Meglin Kiddies becoming the idol of
the Hollywood stag row. It's tough
on the gals past their teens, but maybe
there's logic in the idea of catching
gals young enough to train 'em in a
man's way of life.

Well, well, toodle-oo, old Cal has a
date with Baby Sandy. See you later.

Night-Club Flashes: Ann Sheridan
was voted the glamour beauty of the
month when she appeared at Ciro's
with Cesar Romero. Never has Ann
looked so radiantly lovely. Even the
stars present stopped to gape. Inci-
dentally, a near-riot was started when
a fan, pressing near Annie for an auto-
graph, attempted to unclasp the fas-
tening to her beautiful necklace. The
police yanked the too-ambitious fan
away and Ann in triumph marched in
to the chorus of "ohs" and "ahs."

Lupe Velez, on the other hand, went
photoplay combined with movie mirror

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A "listen, my son, and you shall hear"
pose of veteran Basil Rathbone giving
newcomer Glenn Ford a business earful
during luncheon at the Brown Derby

almost unrecognized with her blonde
hair, of all things. The dignity of
Lupe since she has fallen in love with
Author Erich Remarque is almost as
startling as her former outbursts. Folk
out here just can't believe it's Lupe.

Marlene Dietrich, who was former-
ly the girl friend of Erich, is still
limping slightly from her accident.
Her limping partner is still French
Jean Gabin who, for all his savoir-
faire, seemed slightly uncomfortable
at Marlene's extreme decollete!

Mr. and Mrs. John Wayne, seldom
seen away from home, made a rare
appearance at the Mocambo.

Cary Grant Talks To You: We
roamed out on Warners' "Arsenic
And Old Lace" set and chanced upon
Cary Grant. The talk fell to vacations
and then to New York. Cal asked
Cary if he really had fun when he
went to New York. He threw up his
hands in horror at some of the mem-
ories, especially at his experiences at
the hands of those rude fans who are
the abomination of the true and loyal
fans whom stars love.

"It's our big cities that are bad," he
said. "And if they're tough on a guy
like me, what must they do to some-
one like Gable?"

Maybe if all you real and genuine
fans could pass along a rebuke to the
rude ones, it might help the situation.

As We Go To Press: Fans and
friends of Jackie Cooper were dis-
tressed at the news of his mother's
death. Mrs. Bigelow, only thirty-six,
had guided her son's career through
his "Our Gang" days, his success in
"Skippy" and "The Champ," to his
present popularity. For many months
Jackie has known that he and "Mom"
were fighting a losing battle, though
he never told her. Nevertheless, no
amount of preparedness in facing
death makes the blow any less crush-
ing when it falls. This will be a lonely
Christmas for Jackie.

FEBRUARY, 1942

FOR YOURSELF

One sure "Yes!" to a reader's
suggestion for Richard Carlson
would come from his wife Mona

$10.00 PRIZE
Try It Sometime!

I'M starting a one-woman campaign
for M.S.M.F. in America. M.S.M.F.
stands for More Sincere Movie
Fans. This hysteria at the sight of a
famous profile is deadly to a sincere
fan and my town needs educating
badly.

To begin my campaign, I've started
writing sincere letters, after each
movie I see, either complimenting or
criticizing as honestly as I know how
the performance of the two star
players. To my surprise I've found that
a star appreciates sensible letters and
the one star who answers by return
mail, with a personal letter, is the
much-abused Robert Taylor. The let-
ters aren't mimeographed either;
they refer to my letter in detail, show-
ing that my sincere words were read
and appreciated. Try it sometime
. . . instead of asking for a lock of
hair, a fifty-dollar loan or the ring
he wore on his little finger in the last
picture, give him your opinion, hon-
estly, and you'll be repaid by a sin-
cere, friendly and appreciative letter.

Who wants to join me?

Oleta Aubrey,
Oklahoma City, Okla.

$5.00 PRIZE
Three Cheers for American Pix

THREE cheers for motion pictures!
They have thrilled me to the core
With epics like "The Big Parade"
And a hundred thousand more!
I recall "The Covered Wagon"
Of those golden silent days
When the "Birth Of A Nation" thrilled

me
In a hundred different ways.
I have watched our nation's struggle
In its fight to make men free.
I know the blood that freely flowed;

It flowed for you and me.
I landed with the Pilgrims,
I fought at Bunker Hill,
I heard a speech at Gettysburg
That's ringing through me still!
In days of dark depression
When we all felt pretty glum,
The movies picked our spirits up,
And made our heartstrings hum.
So, in a tragic world today
Our movies represent
The American Way in the U.S.A.
And its spirit one hundred percent.
Clare Neuser,
Scranton, Penna.

$1.00 PRIZE
Dear i Hollywood —

WHY not give George Mont-
gomery a real break? I think
that he is just about the best thing

PHOTOPLAY-MOVIE MIRROR awards the
following prizes each month for the best
letters submitted for publication: $10 first
prize; $5 second prize; $1 each for every
other letter published in full. Just write in
what you think about stars or movies, in
less than 200 words. Letters are judged
on the basis of clarity and originality, and
contributors are warned that plagiarism
from previously published material will be
prosecuted to the full extent of the law.
Please do not submit letters of which
copies have been made to send to other
publications; this is poor sportsmanship
and has resulted, in the past, in embar-
rassing situations for all concerned, as
each letter is published in this department
in good faith. Owing to the great volume
of contributions received by this depart-
ment, we regret that it is impossible for
us to return unaccepted material. Accord-
ingly we strongly recommend that all con-
tributors retain a copy of any manuscript
submitted to us. Address your letter to
"Speak for Yourself," PHOTOPLAY-MOVIE
MIRROR, 122 East 42nd St., New York
City, N. Y.

that has happened to Hollywood in a
long time. Besides roles in a few B
pictures and gadding about with debs
and glamour girls, George hasn't been
doing right by the public.

For gosh sakes don't stick him in
a cowboy outfit! I can stand Gary
Cooper and a few of his type in a
ranch role, but not that heart-break-
ing Montgomery man.

Ohhh! to be able to see him in a
real Charles Boyer type picture. Of
course, I wouldn't want George to
set the world on fire, but he does de-
serve a much better break and I'm
willing to bet that he could set more
than one feminine heart aflame.

The men have luscious Lana Turner,
so c'mon, share and share alike, give
us dames a terrific Montgomery
picture.

D. L. Wetzel,
Browning, Mont.

$1.00 PRIZE
Upsetting Pedestals

AFTER seeing the great Spencer
Tracy in "Dr. Jekyll And Mr.
Hyde" I feel that if ever I read again
that he is the best actor on the screen
I shall promptly burn the magazine or
paper that says so. The entire audi-
ence, when I saw this film, roared with
laughter at the man's grimaces and
his ridiculous would-be faunlike leaps
over railings and chairs, a la the young
Douglas Fairbanks the First. Only
that gay gentleman did such things
in comedies and Tracy meant his ac-
tions to be taken seriously!

The film was a poor mixture
of pseudo-Freudian psychology, of
course, and that gave the poor actor
a bad handicap to start with, but even
that big a handicap couldn't excuse
his downright ham acting. He was
simply out of his depth in the Steven-
son story, although there are some

photoplay combined with movie mirror

actors in Hollywood who wouldn't
have been. Robert Montgomery
could have played it — he has enough
sophistication to do it well.

I think Louis Hayward could
have played it well; I wish the film-
makers would realize the sterling
values of this young actor and give
him parts worthy of his ability. Wil-
liam Powell could have done it — yes,
the comic Mr. Powell. He once did
serious plays on the stage and did
them well. He has suavity and under-
standing and he wouldn't have been,
like Tracy, lumbering and crude. Nor
would he have been funny.

Wallace Kirk,
Oxford, O.

$1.00 PRIZE
Love Interest

LET'S not have any more of Ruth
Hussey and Melvyn Douglas as
romantic leads. "'Our Wife" should
convince the producers that while
both are excellent comedians they
definitely do not win the audience's
interest in love scenes. Miss Hussey
is beautiful, but her manner is far too
brittle to make her acceptable as a
romantic heroine. And Melvyn Doug-
las— despite the fact that he has been
cast as the loving male in scores of
films — is definitely not the actor for
such parts.

In this respect, there is an interest-
ing comparison involving another cur-
rent film, "Unfinished Business." Both
films have very thin plots and very
ordinary ones. Yet "Unfinished Busi-
ness" is lifted to the place of a great
picture because of the personalities of
Irene Dunne and Robert Montgomery.
Love scenes between them are superb.

So please, Hollywood, take a hint
from the many people who feel the
same as I and keep Miss Hussey and
Mr. Douglas in the comedy -characters
which they do so well.

M. Simms,
New York City.

$1.00 PRIZE
How About It?

RICHARD CARLSON definitely has
earned more recognition from
Hollywood than he has thus far re-
ceived. How he could use a good
meaty role like, for instance, that of
Kenneth Roberts' new hero, Oliver
Wiswell!

Hollywood must have considered
making a picture from this grand
novel, but if the picture is made,
probably some established star will
be given the top spot. It seems pro-
ducers should know by this time that
the quickest way to make a new star
is to put a comparatively unknown
but talented person in the leading
role of a big picture, particularly one
made from a (Continued on page 98)

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FEBRUARY. 194''

CALLING THE TURN

ON A

BIG PICTURE

THERE are Western stars and

WESTERN stars but there is only

ONE GENE AUTRY! GENE

IS back on the screen with his

MOST exciting and entertaining

PICTURE yetl "DOWN

MEXICO WAY" is the

TITLE of this newest

THRILLER — and

GENE'S great

SUPPORTING

CAST includes

SMILEY

BURNETTE

AND HAROLD

HUBER for

LAUGHS — and

FOR romance,

THERE'S that

BEAUTIFUL

NEW discovery,

FAYMcKENZIE,

WHO was a

SENSATION

ON the stage

IN "Meet the

PEOPLE and will be even more

SO when GENE starts serenading

HER with hit songs such as "Maria

ELENA" and "Down Mexico Way"

AND lots more — all of which goes

TO make this one absolutely the

BIGGEST and

FINEST of all

THE many hits

IN which GENE

HAS appeared.

IF you don't see this picture and

HEAR these songs, you will be

MISSING a real movie treat. Like

ALL of GENE AUTRY'S hits,

THIS one is

A REPUBLIC PICTURE

BRIEF REVIEWS

VINDICATES PICTURE WAS RATED "GOOD" WHEN REVIEWED
VV INDICATES PICTURE WAS RATED "OUTSTANDING" WHEN REVIEWED

No dialogue necessary: Lana Turner and Robert Taylor don't
talk, just act in a scene from M-G-M's "Johnny Eager"

ALL AMERICAN CO-ED— Ha\ Roach-U.A.:
Johnny Downs dons women's clothes and enrolls at
a strict girls' school in order to get even with the
school for having cast aspersions on a near-by male
student body. Frances Langford sings, which is
easy to take, but it's a non-entertaining little
musical. (Jan.)

S/ ALOMA OF THE SOUTH SEAS— Para-
mount: Dorothy Lamour is back again in Techni-
color and her sarong. Jon Hall is the native who
returns from the states with his new education to
take over his post as ruler and marry his betrothed,
Miss Lamour. But jealous Philip Reed has other
ideas. (Nov.)

V*S APPOINTMENT FOR LOVE— Universal:
Charles Boyer is at his smoothest in this gay movie
as the playwright who marries a successful doctor,
Margaret Sullavan, who puts into practice all her
scientific theories about marriage and takes her
own apartment. Both Reginald Denny as the
"other man" and Rita Johnson as the "other wo-
man" are splendid. It's sparkling as your Christ-
mas tree. (Jan.)

\/ BADLANDS OF DAKOTA — Universal:

Straight-shooting Western, with Robert Stack as
the Easterner who marries his brother's (Broderick
Crawford) fiancee, Ann Rutherford, which starts
all the rumpus. Richard Dix is Wild Bill Hickok,
Frances Farmer is Calamity Jane, and Addison
Richards is Custer. (Nov.)

y BELLE STARR— 20th Century-Fox: The no-
torious woman bandit of the 1860's has been so
whitewashed that much of the punch of the picture
is lost. Gene Tierney plays Belle, who turns out to
be a gently bred Southern girl who attempts to re-
fight the Civil War. She marries Southern rebel
Randy Scott and participates in his escapades until
she finds out his cause is only a front for thieving
and killing. (Nov.)

i/ BIRTH OF THE Bl I I v Paramount: In this
natured, easy-going movie, Bing Crosby, a
Southern lad, finally rounds up the first white band
to play blues music and, through the aid of Mary
Martin's singing, gets a hearing. You'll like every
minute of it. tin music and the cast, which includes
Brian Donlevy and Rochester. (Dec.)

BLONDE FROM SINGAPORE. THE— Colum-
bia: The ever-present jewel thieves are here again
in tins tired plot, with Florence Rice as a scheming
actress who swipes the pearls from Leif Erikson and

Gordon Jones, and then sets out to win Alexander
D'Arcy, only to find herself in a spot. (Nov.)

\S<S DIVE BOMBER— Warners: Timely, in
formative, and entertaining is this picture about
the experimental work of flight surgeons in the
Naval Air Corps. A feud between Errol Flynn and
Fred MacMurray is the framework for beautiful
aviation shots. Alexis Smith registers as a comer,
and Ralph Bellamy and Regis Toomey lend grand
support. (Nov.)

DOWN MEXICO, IV A Y— Republic : When Gene
Autry discovers his townsfolk have been gypped
by a band of crooked movie promoters, he rides
right over into Mexico to round up the varmints.
Fay McKenzie is pretty and talented as Gene's
new leading lady and Smiley Burnette is right in
there pitching. One of the best of the Autry
pictures. (Jan.)

\/ DR. JEKYLL AND MR. HYDE—ii-G-li:

Although this is its third screen version, it's a
gripping, compelling, interesting picture. Spencer
Tracy as the scientist overacts every now and then.
Lana Turner is beautiful, but it's Ingrid Bergman
who walks off with the movie. (Dec.)

• DR. KILDARE'S WEDDING DAY— M-G-M:
The sudden, tragic death of Laraine Day. fiancee
i on her wedding day comes as a

jarring shock. Through the comfort offered by
Lionel Barrymore as L>r. Gillespie. Lew Ayres as
: ,• is finally able to return to work after his
grievous loss. Nils Asther is very good.

yy DUMBO — Walt Disney: All the whimsical
charm that Disney has lavished on his past
fantasies is embodied in this heart-touching story
of Dumbo, the baby elephant whose enormous ears
causi him to be spurned and despised until he
learns how to fly. It's warm and appealing and
lunny. beautifully drawn and executed. (Jan.)

ELLERY OUEEN AND THE MURDER RING—
Columbia: Ralph Bellamy is again the famous de-
tective who solves some murders in a hospital, but
it's the side splitting performance of two dumb
bunnies, Paul Hurst and Tom Dugan, who play

photoplay combined with movie mirror

their roles straight, that provides riotous fun (Dec.)

FLYING BLIND — Paramount: Loads ot noise and
thrills and romance are packed into this thriller
about spies and intrigue on a honeymoon air ex-
press. Richard Arlen is the pilot who neglects his
romance with Jean Parker until they find themselves
in a plane with villain* Roger Pryor and Nils
Asther, and daffy bride Marie Wilson. (Nov.)

GENTLEMAN FROM DIXIE ; — Monog ram :
When Jack La Rue is released from prison he
returns to his brother's stock farm down South
where he finds villainous John Holland, who origi-
nally framed bun. Marian Marsh is his brother's
wife, and little Mary Ruth, who's an accomplished
musician, is her stepdaughter. (Dec.)

HENRY ALDRICH FOR PRESIDENT —
Paramount: Jimmy Lydon, as Henry, handles the
frustrations, trials and tribulations that confront
him when running for student body president with
all the finesse of a veteran. Great support in June
Preisser, Mary Anderson, Martha O'Driscoll and
Vaughan Glaser overcomes the weaker moments.

IONKY TONK — M-G-M: A rambling story about
i Western con man, Clark Gable, who with his

al Chill Wills, gets elected the big boss of a town
md taxes the peopie into rebellion. Lana Turner's
a nice girl from Boston and the daughter of Frank
Morgan, whom Clark marries on his way up, and
Claire Trevor is the dance-hall girl. (Jan.)

/HOT SPOT— 20th Century-Fox: When Victor
Mature, Alan Mowbray and Allyn Joslyn turn
waitress Carole Landis into a glamour girl and she's
iound murdered, Mature and Carole's sister, Betty
Grable, become suspects and are relentlessly pur-
sued by menacing detective Laird Cregar. Cregar
is terrific and it's a fast-moving, suspenseful
picture. (Jan.)

yy HOW GREEN WAS MY VALLEY— -20th
Century-Fox: An Academy Award contender is
this great human-interest document of a boy's life
in a Welsh mining town. Marching through the
beautifully directed story are the father, Donald
Crisp, and the mother, Sara Allgood, with their
sons, among them Patric Knowles, John Loder and
Roddy McDowall. Maureen O'Hara is the beauti
ful daughter and Walter Pidgeon the preacher.
Flawless and spellbinding. (Jan.)

INTERNATIONAL LADY— Edward Small-U.A.:
Beautiful spy Ilona Massey leads George Brent
of the F.B.I, and Basil Rathbone of Scotland Yard
a merry chase from London to Lisbon to America,
as the two men attempt to find a gang of saboteurs.
The two detectives are charming and witty and
Ilona is delightful. Gene Lockhart is also very
good as the wealthy pro-Nazi. (Jan.)

KID FROM KANSAS, THE— Universal : A
blight, sabotage and all kinds of trouble hit the
banana plantation of Leo Carrillo; and Andy Devine
and Dick Foran receive the blame for it all until
Koran escapes from jail and uncovers the real
rascals. A lot of action is mixed up in the story
and the trio of actors do right well. (Dec.)

yy LADIES IN RETIREMENT— Columbia:
This famous stage play is superbly translated to
the screen with a never-relaxing suspense. Ida
Lupino is mainly responsible for its compelling
quality of repulsion and sympathy, as the com-
panion who ruthlessly murders to provide a home
for her mentally ill sisters. Louis Hayward, too.
rates honors, as does Evelyn Keyes as the maid,
and Edith Barrett and Isobel Elsom. (Dec.)

yy LIFE BEGINS FOR ANDY HARDY—
M-G-M — Andy grows up the hard way when he
takes a fling at earning his own living in New
York; and hunger, a golddigger and the tragic
death of a friend teach him a much-needed lesson.
Mickey Rooney is tops as Andy, as is Judy Garland
as the annoying girl friend. Pat Dane and Ray
McDonald rate plenty of raves. (Nov.)

yy LITTLE FOXES, THE— Goldwyn RKO
Radio: An Academy Award contender is this grip-
ping tale. Bette Davis as the ruthless Regina holds
ber own with such members of the New York stage
cast as Patricia Collinge, Charles Dingle and Dan
Duryea. Herbert Marshall is perfect as the sick
husband and newcomer Teresa Wright is a coming
star. (Nov.)

y LOOK WHO'S LAUGHING— RKO Radio:
Laughs follow one after the other in this un-
sophisticated comedy about a radio entertainer,
Kdgar Bergen, who with Charlie McCarthy lands
in a small town where he helps Fibber McGee and
Molly defeat a couple of land sharks. Lucille Ball
and Neil Hamiton add to the fun. (Dec.)

yy LYDIA — Korda-U.A.: Different, fascinating
and heart-warming is this flashback review of the
suitors in one woman's life. The men who loved
Merle Oberon but failed to win her are Joseph Cot-
ten, George Reeves, Hans Yaray and Alan Mar-
shall. All give fine performances. (Nov.)

yy MALTESE FALCON, THE— Warners :
This is one of the best mystery pictures since the
first "Thin Man" and a masterpiece of well-
sustained and acted entertainment. Mary Astor
enlists the help of detectives Humphrey Bogart and
lernnie Cowan in her efforts to recover a priceless
falcon statuette. Sydney Greenstreet offers some-

(Continued on page 103)

FEBRUARY, 1942

>/6Js& /fcreZT

Come out in

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Candid-ate for
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fay McKenzi

check-up on this important make-up point

Jx^ate youiieLQ a. blj tound jeto . . •

— if you're not "fussy" about the way you put on your lipstick.
Take Fay McKenzie — she's a fussy one, and she's also one of the
prettiest girls in Hollywood. She's getting herself talked about right
now as Gene Autry's leading lady in "Cowboy Serenade"; she's
getting a lot of handclaps for the way she's decorating magazines
(you can see her in another light on page 13).
Watch her put on lipstick; be amazed at the pains she takes;
you'll get back a grin and some good pointers. "I know it looks
fussy," she says, "but I think lipstick is the key to good make-up.
If you go wrong there, you're all wrong. You simply have to find
the right color, key the rest of your make-up to it and then take
time to put it on correctly."

So, when you go into your lipstick act, be sure you do it
under a bright light and that you stage a close-up with your
mirror. Follow the natural outlines of your mouth, use your
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have a variety of lipsticks so your color matches your outfit.

(five youtieln a. p<zt on tne o<zclc . . .

— know the trick of painting your upper lip just a bit more
heavily than your lower one. Also, be smartly aware that the
lines of your lips should always turn up; otherwise you'll look
like a candidate for the title of saddest girl in the world.

ft ut on the dunce 5 cap . . .

— if you haven't realized that you can get a very glamorous
effect with lipstick if you use a darker rouge as base and then
apply the correct color over it. Keep to the old theory of
rouging, then applying a bit of powder, then rouging again.
You'll be good for a whole evening under the bright lights
without having to re-do your mouth make-up. Incidentally,
you will never, of course, apply a new make-up over the old;
there's nothing that makes your mouth look more old-shoe than
fresh lipstick applied without a previous thorough clean-up job.

&*t

ziiutec

— that you and your lips will look smooth if you catch on to the
cure-all for winter's chapped lips: Cream or lotion rubbed into
the lips every night as faithfully as you rub it into your hands.

> atound u/e&Unq Lau'ceL

wteathi .

— if you know all about the tricks lipstick colors can play on you.
For instance, you'll seldom wear a blue-toned lipstick in the daytime but
you'll always wear one when you're going to shine under those modern
artificial lights. If you don't believe it, try wearing an orange lipstick under
today's bright lights and watch that lipstick do an unglamorous fade-out.

C/et youtleLfj in the leadlna r&nLi on the -(Qzmu . . .

—by playing hostess to them in the recreational groups that are springing up all
over the country. Be like Fay McKenzie again, who's acted as one of fifty Holly-
wood hostesses to the U.S.O. at Ciro's: Make your lips look pretty by smoothing
just a bit of lustrous cream over your make-up, keep smiling with the corners of
your mouth up, dance with these gallant defenders all night long, and keep both
yourself — and your make-up — wearing well.

GLORIA

MACK

•20

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FEBRUARY, 1942

REVIEWING MOVIES OF THE MONTH

A reliable guide to recent pictures. One check means good; two checks, outstanding

Film of finished deftness: Shirley Temple
and Laraine Day in M-G-M's "Kathleen"

Wit, dancing, beauty and fun: Zorina
and Bob Hope in "Louisiana Purchase"

^ Kathleen (M-G-M)

It's About: A little rich girl who mar-
ried her dad to the right girl.

THOSE who said Shirley Temple
was no longer a favorite with the
fans may now eat humble pie. Shirley
at twelve is a better little actress than
ever before, having lost all her baby
mannerisms and gained not only poise
and self-assurance but a new beauty
and charm. We base these assertions
not only on our own opinion but on
those of the preview fans who actually
cheered Shirley after the showing.

Like a glove the story fits Shirley's
needs. It has her the lonely, mother-
less child of well-to-do Herbert Mar-
shall, missing her father's company
and loathing the snooping companion-
housekeeper, Nella Walker. When
Miss Walker is finally sent packing,
Laraine Day, a doctor of child psy-
chology, replaces her.

In the meantime, Mr. Marshall de-
cides to marry Gail Patrick, of whom
Shirley disapproves. In her place, the
little girl schemes and plans to put
Miss Day whom Shirley has come to
love.

There's an air of finished deftness
about the whole story that radiates
well-being, good humor and charm.

Felix Bressart is splendid as the
antique dealer and friend of Shirley's.

Your Reviewer Says: A honey with a
honey.

The Best Pictures of the Month

Ball Of Fire

Kathleen

Louisiana Purchase

They Died With Their Boots On

One Foot In Heaven

The Chocolate Soldier

Best Performances

Barbara Stanwyck in "Ball Of Fire"

The professors in "Ball Of Fire"

Shirley Temple in "Kathleen"

Richard Whorf in "Blues In The
Night"

Errol Flynn in "They Died With
Their Boots On"

Fredric March in "One Foot In
Heaven"

Nelson Eddy in "The Chocolate
Soldier"

Rise Stevens in "The Chocolate
Soldier"

Robert Young in "H. M. Pulham
Esq."

Don Ameche in "Confirm Or Deny"

Elizabeth Bergner in "Paris Calling"

^ Louisiana Purchase
(Paramount)

It's About: The schemes hatched by
the fall guy for conniving crooks.

FROM the stage comes the musical
hit, "Louisiana Purchase," to wrap
itself around three intriguing person-
alities, Bob Hope, Vera Zorina and
Victor Moore. With the aid of Irene
Bordoni they shuffle off to Buffalo and
all points west for a well-rounded,
deliciously curved comedy. It is not
the most hilarious picture we've ever
seen or even the fun-fest it could have
been, but it will do nicely until Para-
mount's producer, Buddy DeSylva,
gets the hang of movie comedy.

Hope is made the butt of four
Louisiana crooks who call themselves
The Louisiana Purchasing Company.
When U. S. Senator Victor Moore
comes down to investigate the com-
pany, poor Hope is on the spot until
he conceives the idea of framing the
Senator into compromising situations
with Vera Zorina, a scheme that back-
slaps Mr. Hope in his scoop-faced pan.

Hope scores with his wit and Zorina
with her dancing. Rare beauties
polka-dot the screen here and there
to lend intrigue to the whole Techni-
color scheme of things. The Mardi
Gras scenes are especially colorful.

Your Reviewer Says: Fun. color, mu-
sic, beauty — the 4A Muses.

(Continued on page 24)

FOR COMPLETE CASTS OF CURRENT PICTURES SEE PAGE 99

photoplay coiiibnied with mctte mirror

'<r.

/9^

***oi«» *

oiw**

20th Century-Fox is now producing 6? J 'J , ^

these grand, new pictures you'll soon ^V^^^

be seeing in your favorite theatre! \] * ■

ASK YOUR LOCAL THEATRE MANAGER <^J

WHEN HE'LL SHOW THEM! ^J ^^**^

BETTY GRABL
VICTOR MATURE J

^BeM**1*

ob^SS8^

JACK OAKIE

0 T,

Reduce

GINGER ROGERS

ROXIEHABT

with

ADOLPHE MENJOU
GEORGE MONTGOMERY

**SL

°^u6

***&

Rita
HAYWORTH

■**IHS

IOHN MAUREEN RANDOLPH

PAYNE • O'HARA • SCOTT

NOW! STIRRING THE HEART OF THE NATION!

mm mma wm sasr ^

Produced by DARRYLF. ZANUCK • Directed by JOHN FORD

FEBRUARY, 1942

m & l

X €

Timely excitement: Elizabeth Bergner
and Randolph Scott in "Paris Calling"

Startling and different: Barbara Stanwyck
and Gary Cooper in Soldwyn's "Ball Of Fire"

" Paris Calling (Universal)

It's About: French sympathizers, with
the aid of an American aviator, con-
spire against the Nazis.

A REVEALING insight into the
news behind the news is this
picture of French sympathizers who
work secretly to throw off the bur-
den of the Nazi yoke. Elizabeth Berg-
ner, as the wealthy French girl who
throws in her lot with the secret
French sympathizers, is terrific.

Randy Scott as the American flyer
with the R.A.F. and Basil Rathbone
as the Frenchman who betrays France
are very good.

Lively moments, timeliness of theme
and an aura of excitement dress this
story in thrilling garments.

Your Reviewer Says: Thumbs up.
"V Ball Of Fire (Goldwyn-RKO)

It's About: Consequences when a pro-
fessor meets a night-club floozy.

WHEN Mr. Samuel Goldwyn
shears the lullaby gaps from
this wildly hilarious comedy, he'll
have on his hands a picture startling,
new and different in idea.

Gary Cooper, the slow-burning
"Ball Of Fire," and Barbara Stan-
wyck, the night-club babe, go to town
with two wild performances. If you
don't break your funny bone laugh-
ing, we miss our guess. Gary is one
of a group of professors slowly and
laboriously compiling an encyclopedia.

(Continued from page 22)
As the English professor, Cooper sets
out into the city to broaden his
knowledge of slang. His roamings
gather in Stanwyck, on the lam from
the police. What happens to the pro-
fessors, especially Gary, under Stan-
wyck's guidance, shouldn't happen to
the seven dwarfs.

Kathleen Howard, Allen Jenkins
and the professors lend tremendous
support. With those bad, draggy mo-
ments eliminated, this should prove
a ball of fire at the box office.

Your Reviewer Says: The answer to
the $64 question.

^ Confirm Or Deny
(Twentieth Century-Fox)

It's About: An energetic head of an
American news service in London.

HERE'S just about as peppy and
active a little piece of timeliness
as has been catapulted out of Holly-
wood in a long time. Don Ameche,
the human dynamo of an American
news service in London, injects so
much nervous energy into his work
the audience is pitched to a high C
tension throughout.

The attempts to keep open for busi-
ness despite the bombings keep the
news service two crater leaps ahead
of Hitler, with Joan Bennett, John
Loder, Raymond Walburn and Roddy
McDowall caught up in the scramble.
Joan Bennett is very good in her role
of the English girl employed by the
service. Roddy McDowall, who val-
iantly sticks to his post, and Arthur

Shields, as the blind newspaperman,
are both splendid.

It's firecracker fare, so don't expect
to relax or sneak any catnaps.

Your Reviewer Says: Zip-p-p-p.

^ Sullivan's Travels (Paramount)

It's About: A would-be tramp who
achieves his wishes.

AM E S S A G E picture that de-
nounces messages is the theme
of this rambling, somewhat garbled
story; it's entertainment that some-
how misses greatness.

Joel McCrea is a rich young Holly-
wood motion-picture producer who
wants to make a message picture
labeled "Brother Where Art Thou?"
Persuaded he knows nothing of the
hardships of life, Joel sets out in rags,
equipped with a ten-cent piece.

Landing back in Hollywood, he
picks up an extra girl. Veronica Lake,
and this time the two of them start
out on the bumming road, like two
derelicts. In Hollywood again, Joel
sets out a third time on his philan-
thropic mission, gets knocked out,
lands in a prison road gang and
eventually emerges to forsake his
morbid picture ambitions for comedy.

One of the most powerful moments
ever filmed is the scene, played — and
sung — by the Hall Johnson Choir, in
a Negro Church.

Your Reviewer Says: See it — for that
moment.

(Continued on page 106)

photoplay combined with movie mirror I

TATTLETALES OUT OF SCHOOL:
Thomas Mitchell is not popular
among the press, though they
agree he's one of the best actors in
the business.

The town actually has the nerve to
link Mickey Rooney's name with
Norma Shearer's name romantically.
And there are actually some people
who are silly enough to believe it.

Friends are hysterical over the gift
Bing Crosby brought his wife from
South America. It's a mahogany foot-
stool, of all things. Try wearing that
to Ciro's!

The feud between comics Bob Hope
and Red Skelton has calmed down to
a tornado. It began when one of Bob's
radio gag men deliberately bolted
over to Skelton's side.

Jni>Ue Stuff

Gable has a red face. For once he
thought he knew better than wifey.
Carole advised him to buy up nails
for use on the ranch before defense
priority set in; he didn't think the
buying of nails very important. Well,
finally came the time when Mr. Gable
needed nails badly and was grinding
his teeth because he hadn't bought
any.

Whereupon, Mrs. Gable led him out
to the barn where she'd hidden 2,000
pounds of nails, bought at seven cents
a pound. Hollywood stores are now
phoning Clark offering seventeen
cents a pound for the nails!

Two girls who have ruined their
good looks by dieting — Judy Garland,
who has added ten years to her age
through loss of poundage, and Ilona
Massey who now possesses only a
shadow of her former beauty.

Olivia de Havilland takes her din-
ner along in a hamper to Ciro's, so
strict is her diet. Olivia's date these
nights is usually Roger Pryor, es-
tranged husband of Ann Sothern.

The town is giggling over Fred
Astaire's odd experience. Fred, who
is completely sold on the acting ability
of Joan Leslie and is so anxious to
have her for his next leading lady,
was afraid to leave the deal to agents
and decided to phone Joan himself.
Her sister answered the phone.

"Oh, I'm sorry, Joan can't come to
the phone now," she said. "She's up-
stairs doing her homework!"

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("but he walked right out of the dream)

JJS

Saturday

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PHOTOPlfli

MIRROR

When We Look Back

N DAYS like these, with our country at death grips

with the Axis, it seems singularly unimportant that in

a few weeks the Academy will give its annual awards
or the best pictures and achievements of the year. And
ret looking back in later years, the trivia of these days
vill take on a certain bemused interest.

Will any of the pictures which you and I saw during
941 live in our minds through the explosive years ahead
if us? Which have qualities that will make them suffi-
iently memorable so that when we look back they will
:ome to life again?

Each year The Film Daily, trade paper of the industry,
sks the editors of America to vote on the ten best pictures
if the year. Putting aside any technical considerations —
or several of the pictures which I know are memorable
lad to be excluded from the famous Film Daily poll
>ecause they were released a little too late in the year —
et's look 'era over.

"Dumbo" you will always remember for its exquisite
enderness as well as for its great good humor. Who can
ver forget the enchanting absurdities of little Dumbo,
he flying elephant?

"Citizen Kane," much discussed, much censored, will
ie remembered because of its superb adroitness in using
n episodic technique in masterful dramatic fashion.
Everyone who saw the picture, even those who didn't
ike it, had to admit that here was a new mind, a new
magination at work.

Man's relations with the beyond would not seem a
ubject for a constantly amusing and always believ-
ble picture, but that is exactly what "Here Comes
dr. Jordan" turned out to be. It is memorable not
nly for Robert Montgomery's and James Gleason's
pirited performances but also for the most original story
if the year.

For its dramatic intensity we shall surely remember
The Letter" and the fine acting of Bette Davis and the
ate James Stephenson.

Better than the stage version, "The Philadelphia Story"
hould be remembered as the best comedy of manners
if 1941.

For propaganda which really came off and at last

showed some sign of hope for the misled German people,
"Underground" belongs on this list. For propaganda
combined with swell melodrama, "Night Train" wins
special mention.

Also tied to the events of today but to be remembered
chiefly for its poignant, heart-rending love story, "Hold
Back The Dawn" cannot fail to live in our minds.

Using as its theme the richness of the lives of simple
people, "How Green Was My Valley" left me feeling that
I had shared the daily living of those in that little Welsh
town. I'm sure I shall never forget the experience.

TO ROUND out the ten most memorable pictures of the
year — and it is by no means the least because it is men-
tioned last — let us include "Sergeant York." Patriotism
can so easily be made maudlin or jingoistic; this picture
made it something simple and moving, something im-
portant in the heart of a man — so important that for it he
is willing to compromise with his ideals.

Yes, the Academy will be choosing the best picture of
the year, best performances, et cetera; certainly they
could do no better than to pick "Sergeant York" for the
best picture and Gary Cooper for the best male
performance.

Last year they picked James Stewart for "The Phila-
delphia Story," which makes it impossible for Katharine
Hepburn to win it this year for the same picture. Due to
the fact that technically the picture was released in 1940
she will be out of the running for a 1941 Award, which
to my mind is a pity because she deserves it. But there
is an easy second choice — the performance of Olivia
de Havilland in "Hold Back The Dawn."

And for the finest character performances, Donald Crisp
in "How Green Was My Valley" and James Gleason in
"Here Comes Mr. Jordan" should vie for the honors.

This year a child has given a great performance and 1
hope the Academy will remember it — that of Roddy Mc-
Dowall in "How Green Was My Valley."

When we look back in later, more peaceful years, the
details of many of these pictures will be forgotten. But
for one reason or another I believe each one of the ten
will be remembered.

EBRUARY, 1942

No one ever before went to Gene Tierney and asked her for the real story of her
marriage to Oleg Cassini. So now, in appreciation, she gives us the dramatic truth

Gene's mother commented on
Oleg: "He's the only per-
son who calms you down"

BY
JAMES REID

" I DEFY Hollywood gossip-mongers,

I or my family, or anyone else to

I break up my marriage. I'll make
it last if I die in the attempt!"

Gene Tierney's eyes flashed green
fire. She had just read another story
about her marriage to Count Oleg
Cassini, written by someone who had
never seen her about it, and the star
of "Son Of Fury" was smoldering.

"I've been told that I should laugh
at these stories, but I can't. They
burn me up. My marriage means too
much to me for me to laugh when
things that are not only untrue, but
unfair, are printed about Oley and me.

"I'm fed up with these sob stories
about The Poor Little Rich Girl,
Whose Hasty Marriage to The Foreign
Nobleman Has Made Her a Countess
—But Isn't Likely to Make Her
Happy.

"I didn't marry Oley for his title.
For one thing, he won't have a title
after November first, when he be-
comes an American citizen. And he
didn't marry me for my money, be-
cause I don't have any money except
what I earn — and he earns a good
living, too. Also, we didn't elope two
weeks after first meeting. We went
together for six months before we
married.

"People seem to have the idea that
I married a suave, elderly gentleman
and that he married a naive young
schoolgirl. To be exact, Oley is
twenty-eight, and I was twenty-one

FEBRUARY, 1942

on November the twentieth.

"Sometime, somewhere, I wish
somebody would get the whole story
straight."

It sounded as if she might be in
the mood to give the story.

"I've always been in the mood to
give it," she said. "I don't know why
people have preferred to make up
their own stories, instead of asking
me for the real one. Maybe they've
been afraid I would be afraid to give
them the facts."

Gene smiled at the ridiculousness
of her having any timidity on that
score. And she looked positively
happy to see us produce paper and
pencil^ ready to take notes.

She started at the beginning.

"We met at a party that Johnny
Maschio and Connie Moore gave —
last December," she said. "I was in-
vited because Johnny was my agent.
Oley was invited because he had de-
signed Connie's clothes for 'I Wanted
Wings.'

"Sometimes I wonder if he would
have been interested in me that eve-
ning— if he hadn't liked what I was
wearing. He asked me for a date.
I told him that my time was pretty
well taken up. Then he asked if he
couldn't have my phone number, at
least. I was reluctant to give it, be-
cause I wasn't particularly attracted
to him — I didn't think he was hand-
some— but I did tell him the number,
finally.

"A couple of nights later he phoned.
I knew he was going to ask for a
date again and I wanted Mother to
talk to him and tell him I was busy,
but she thought I should tell him
myself. Ironic, isn't it, that Mother
didn't try to discourage him then and
there?

"So I went to the phone and, sure
enough, he asked me for a date. And
I kept saying, 'I'm so sorry — but I am
so busy.' He kept me on the phone
two hours, refusing to take 'No' for
an answer. Finally, I gave in. I said,
'All right.' And came away from the
phone, mad at myself for saying
that. But" — she smiled — "I'm not mad
about that any more.

"Our date was for New Year's Eve.
We were going to Ciro's. So I dressed
in something I considered pretty ele-
gant— an evening gown in the Empire
style, a la Josephine, which I had
designed myself. I thought I'd let
him know that I was a designer, too.
In fact, I almost took up designing
as a profession, instead of acting. I
would have, if I had listened to my
father.

"So I came forth in my Josephine
gown — and I was greeted by this
expression of dismay on Oley's face.
'Where,' he asked, very pained, 'did
you get that horrible dress? It's not
for you. It's much too extravagant.
You look like Betty Boop in it. You
should wear very simple things.
Please, won't (Continued on page 70)

By MATILDA

some happy, some ominous — as seen

IT is 1942. Hollywood, beware!
Once more I consult my charts
in order to look into the future
and warn the stars of coming events.
But, before I unfold the future for
you, let's take a look at the February
issue- of Photoplay-Movie Mirror for
1941. I turn to page 72 and quote
from "Hollywood. Beware In 1942!":

Katharine Hepburn: "The tempes-
tuous Katharine Hepburn appears to
come out from under the bad aspects
which have been dogging her for some
time. During most of 1941 she is
under good vibrations so far as her
public and her career are concerned."

"The Philadelphia Story" brought
Katharine back with a loud explosion

of praise from both cxitics and public.
She appears to have mended her
ways and her manners with the press
and with Hollywood in general and
according to the last reports I re-
ceived Katie has the world and her
studio by the tail.

Myrna Loy: "Professionally My ma
is under fine aspects . . . Her private
life, however, is something else again.
The position of her stars shows ten-
sion, conflict and serious misunder-
standings in the home." (Editor's
note: Alter this article was written.
Miss Loy announced that she and
husband Arthur Hornblow Jr. would
separate.)

They separated, went back together

photoplay combined with movie mierob

TROTTER

reliable astrologer In the '42 futures of your favorite stars

again and there have been reports of
a second separation. More about this
later.

Shirley Temple: "What is going to
happen to Shirley Temple? . . . Saturn
in Taurus in bad aspect to her other
planets puts her under a temporary
eclipse for the next few years and no
matter what she does in a profes-
sional way, or how well she does it,
she will meet with adverse criticism
and unpopularity. It would be far
wiser for Shirley to retire to private
life until midsummer, fall or winter
1943. At this time she will have all
the appeal of a new and delightful
personality."

Well, up to the time this article is

being written (early November, 1941)
there has been newspaper talk of
radio programs, contracts with pic-
ture studios and great plans for Shir-
ley but a single picture, "Kathleen,"
is all of note that has materialized
for the child and on that the public
has not yet had an opportunity to
give its verdict.

I have at last obtained what I be-
lieve to be Shirley's accurate birth
year and will discuss her future later.

Clark Gable: ". . . popularity and
box-office appeal not only through
1941 but for many years to come."

Did he ever have more box-office
appeal than in "Honky Tonk?"
(Continued on page 73)

FEBRUARY, 1942

V°^;

Tyrone Power as Clive:
He had a nice face.
Nose a bit too fine,
mouth a little large,
eyes — the eyes were
like his voice, tired

OT by coincidence, it was the
day France capitulated to Ger-
many in the Forest of Com-
piegne that Prudence Cathaway joined
the WAAFs — the Women's Auxiliary
Air Force. She signed up as an
ordinary private, which was a severe
shock to her family, whose influence
could easily have got her an offi-
cer's commission. Her Uncle Willfred
summed up the general feeling as
Uncle Willfred always summed things
up, neatly:

"For generations. Prudence, the
Cathaways have been leaders, not
followers. In joining this women's
army as a private, a common private,
you are deliberately throwing aside
the hereditary instincts that entitle
all Cathaways to lead."

Nevertheless, because Prue felt she
was no better than Annie, the local
scrubwoman, simply because her
family was old and rich and Annie's
wasn't, she held to her decision. She
was assigned to the camp near Gosley,
in Kent. It was a collection of brown
wooden barracks set on the edge of
the downs and peopled by girls who
had been, in civilian life, waitresses,
chambermaids, stenographers, debu-
tantes. Violet Worthing, who occupied
the bed next to Prue's in the dormi-
tory, was "local."' She was a big,
healthy girl with scrubbed-pink
cheeks and she confided that her
young man was Joe Telson, who was
also local and was going to join the
Navy soon. Violet hoped to bring
him to the point of proposing before
he left. She was puzzled and a little
hurt when Prue showed no interest
in finding a young man of her own.
In Violet's philosophy, there was little
point in joining the WAAFs and
wearing a nice uniform if you didn't
hope to catch a man thereby.

Prue had been at the camp a week

photoplay combined with movie mirror

!f you've decided it isn't right
or you," he said, "we can pack
p and go." But, being a woman,
'he stayed. He was the one to go

Screen play by R. C. Sherriff. From
the novel by Eric Knight. Directed
by Anatole Litvak

Fiction Version by

NORTON RUSSELL

when Violet came into the dormitory
one evening, almost in tears. It was
Joe's last night in Gosley, his last
chance to propose. And instead of
seeing her alone tonight, he was go-
ing to bring a chum.

"Joe loves me right enough," Violet
complained bitterly, "but he's just
scared stiff about marrying. So he
brings along a chum to walk between
us!" She leaned forward in sudden
appeal. "Prue — won't you do some-
thing for me? Come out tonight and
take Joe's chum away. Please! I just
got to get Joe alone!"

Prue hesitated, wanting to refuse.
All her training, the ghosts of every
snobbish ancestor, said that to go out
with a man she had never met was
common — common. Perhaps that was
why she agreed and was with Violet
when night had fallen, outside the
camp gates. Joe and Joe's friend were
only darker shadows in the black-out.
Violet assumed command as soon as
introductions were accomplished and
almost dragged Joe, panic-stricken
and helpless, down the road. His
friend made an uncertain movement
to follow them, but Prue stood where
she was and said firmly,

"There's a concert in the camp this
evening. Would you like to go?"

"If you want to. I really don't care."
His voice was indifferent, tired; and
it was not the kind of voice that
should have been either. It was a

ILLUSTRATIONS BY VINCENTINI

Joan Fontaine as Prue:
She was delicate, fine-
boned, her face haloed
by crisp golden curls

FEBRUARY, 1942

*r(i

,- /!>'

young voice that had forgotten it
was young.

"Or perhaps you would rather
walk?"

"I've just told you. It doesn't mat-
ter. I don't care."

They walked for a time in silence.
Then he said, "Is this what you usu-
ally do when you come out like
this?"

Sharply — "I don't usually 'come out
like this.' "

"Oh." He considered that for a
few paces. "Then why am I specially
honored?"

"If you really want to know, I
came to help Violet be alone with
Joe. Or didn't you know Violet and
Joe were in love?"

"I didn't," he said.

Far away, the eastern horizon was
aglow with flickering, uncertain light.
Searchlights swung back and forth
through the air. The mutter of gun-
fire came to them across the empty
fields. "They're bombing Dover," he
said. "Or maybe Canterbury."

"They'll be bombing our camp one
of these days." Prue's voice trembled
a little.

He laughed shortly. "Don't worry!
They're not going to waste bombs on
a WAAF camp . . . Cigarette?"

"Thanks."

In the brief flare of the match he
saw her face for the first time — deli-
cate, fine-boned, haloed by crisp
golden curls. "What's the English
aristocracy doing in the ranks of the
WAAF?" he asked.

"Are you one of the aristocracy
haters?"

"I neither hate nor admire them,"
he told her. "I ignore them."

He lit his own cigarette then and
she saw his face. It was a nice face.
The nose was a bit too fine, the mouth
a little large, the eyes — the eyes
were like his voice, tired. He was
dressed in shabby, poorly cut tweeds.

"You're bitter about something,"
she said. "Isn't there anything you
believe in?"

He blew the match out, curtly. "I
believe in people who know what
they're doing — and where they're go-
ing. Precious few of 'em around, just
now."

At ten o'clock they were back at
the camp gates to meet Violet and
Joe. All about them were couples
kissing good-night in the darkness,
ignoring the lack of privacy. He hesi-
tated, then self-consciously pulled
her to him and kissed her on the
lips; she responded automatically,
unthinkingly.

"Can I see you again tomorrow
night?" he asked.

"I don't know. I may be busy."

"I'll wait for you here. If you can't
come . . ."

"If I can't come — then what?"

He turned away to join Joe. ". . . It
won't make any difference."

Prue lay awake for a while that
night, in her cot next to Violet — who
was happy now, for she and Joe were
engaged. In the darkness against her
closed eyelids she kept seeing his face,
briefly illumined by the tiny flame of
the match. Her lips framed his name:
"Clive. Clive Briggs." It was an ordi-
nary name. (Continued on page 87)

There was a silence.
Prue was there in his
arms, wraith-like in
her soft negligee

wm&$y^~m

PHOTOPLAY- MOVIE MIRROR'S
Color Portrait Series:

A/elion £d(lij

Big name on the roster of stars ap-
pearing, via the CBS Sunday night
coast-to-coast broadcasts, on the
Gulf Screen Guild Theater; now
playing, on the screen, in M-G-M's
"I Married An Angel"

page 35

■Hedy J-.ama.it

Appearing in M-G-M's

"H. M. Pulham Esq."

page 37

sxlta -Hauutottn

Appearing in Columbia's

"You'll Never Get Rich"

page W

<Lttol rltfnn

Appearing in Warners'

"They Died With Their Boots On"

pagt 42

photoplay combined with movie mirror

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"What have I got in common with that glamour puss?" said Ann. "Me like that Maisie!"
exclaimed Hedy incredulously. So they passed without speaking. Then they met. . .

^iDlwt u-uiltli) ad ixmSwi

In plain female circles this is called "letting down the
pompadour" on the Ann Sothern-Hedy Lamarr situation

NEVER let it be said that it can't
happen here.
We mean a lasting friendship
between two G-girls — glamour girls to
you. And long may they scintillate
in their sequins and silver fox! Ever
since Theda Bara beaded her first
lash, you've heard tell that the dear
girls are just sweet cinema sisters
under the skin. As closely attached
as the Siamese twins! But invariably,
it seems, a friendship between Muzzie
May Robson and Jane Withers is the
kind that really rates.

All of which compels us to point
with pride and perplexity to those
two luscious ladies. To Ann Sothern
and Hedy Lamarr. In the face of it
all, they've managed to become
friends. Good friends. A less grue-

BY JERRY ASHER

some twosome we hope never to meet!

By every law of human nature
there's as much apparent reason for
Ann and Hedy to be friends as there is
for Dietrich to play Little Eva. When
the possibility of such an alliance was
merely mentioned, the misses Sothern
and Lamarr all but held their pretty
noses and shrieked. You see, each
gave the other a nice juicy pain in
the neck. And then they were intro-
duced.

For almost two years Ann and Hedy
used to pass each other daily on the
M-G-M lot. Hedy, who is actually
shy in the presence of strangers, never
knew whether to speak. Ann, creating

the impression that she was mentally
on the China Clipper, was usually
concentrating on memorizing her lines.
So they didn't think too much of each
other — if they thought of each other
at all.

At the time both girls were study-
ing with Phyllis Laughton, a top
Hollywood's dramatic coach. Know-
ing them so well, it was Phyllis who
first suggested that they'd like each
other. Ann listened politely to Phyllis.
Ann looked bored. Hedy smiled
sweetly. And changed the subject.
Strange as it may seem, Ann and
Hedy don't have many close friends.
Phyllis knew this. So she persisted.

"But w-w-why?" Ann would ask, a
slight note of irritation creepine into
her voice. (Continued on page 85)

photoplay combined with movie mirror

II YOU EVER BE RICH?

No matter how small your budget, you can say "yes" if your rainy-day
ritual is at all like the ingenious $ systems of these young stars

THEY were having a huddle on
the "Sweater Girl" set at Para-
mount—Eddie Bracken, June
Preisser, Betty Jane Rhodes, Phil
Terry, Bill Henry and Ella Neal — six
attractive young starlets typical of
this rising generation of Hollywood
celebrities. All around was the con-
fusion of setting up a new scene, but
it didn't make any difference to them.
They had something else on their
minds and that something was busi-
ness. Business with a capital "B."
The all-important business of han-
dling that weekly pay check.

They were serious about it, too —
plenty serious. Time was, perhaps,
when Hollywood movie stars spent
their money for Moorish castles and
pink automobiles and yachts as big
as battleships. Time was when Holly-
wood movie stars gave not a thought
to the future. Tomorrow could take
care of itself. But, as little June
Preisser was saying in the huddle —
"Tomorrow didn't take care of it-
self. They found themselves down
and out and on the county, lots of
'em. It was pitiful. It still is. Me —
I'm saving my money! When I get
too old to work, I'll buy me a chicken

BY MARIAN RHEA

farm or something and live on that!"

At this point there was a certain
amount of derisive laughter at thought
of Junie's managing chickens. Never-
theless, the group thought the idea
was all right. They were agreed that
money, at least some of it, is made
to be saved! No living on the county
for them, or at best on the largesse
of the Screen Actors' Guild! Young
as they were, imbued as they were
with the joys and irresponsibilities of
youth, money was nevertheless im-
portant to them in a way you didn't
expect it to be. It was important to
save!

"It isn't how much you save," Eddie
Bracken threw in. "It's making your-
self do it regularly, come hell or high
water!"

The others agreed and from here
the conversation progressed to how
they were doing it. Savings bank,
life insurance, annuities, bonds, com-
mercial enterprise? Each had his own
ideas, of course.

For instance, Bill Henry who is, as
you know, a married man with an

infant son, manages to save about
thirty per cent of what he makes.
Of that, one third, or ten per cent of
the whole, goes into payments on an
educational endowment policy which
in sixteen years will send Bill Jr. to
college and on a $5,000 endowment
policy to start young Bill out in busi-
ness after he is through school.

"I don't think you should have kids
unless you fix up their future pretty
well," Bill remarked. Of the remain-
ing twenty per cent saved, half, or
another ten per cent of the whole,
goes into government bonds and the
rest into a bank savings account. Bill
also keeps a special savings account
from which to pay his income tax
each year so that his regular budget
isn't upset.

EDDIE BRACKEN said he saves
about twenty-five per cent of his
salary. Of this, a fifth, or five per cent
of the whole, goes into what he calls
his "director fund." You see, Eddie
has one real ambition in life: He
wants to be a screen director. Every-
thing else he does is only a means
to an end. During the making of
"Sweater (Continued on page 79)

>«<**

nO^< -of'

Twenty-five a week for
life — that's what Lynn
Bari will have someday

*<oN **

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Rita Hayworth does a lot of
things in public just to make
her feel important. But in
private she's quite different!

BY JOSEPH HENRY STEELE

Read and marvel: Best-figure-girl Hayworth wears
filmy black lace — or the equivalent — only when pos-
ing for publicity. Above: With husband Ed Judson

SHE doesn't know how to cook.
Her husband calls her Angel
Face.

Her bust measures the same as her
hips — thirty-four inches.

She is always imagining that peo-
ple do not like her.

She was christened Margarita Car-
men Cansino.

She was born in a hospital, never
wears a corsage, and has a disconcert-
ing habit of humming when someone
is talking to her.. She is frightened by
thunder.

She took the Rita from Margarita,
adopted her mother's maiden name,
Hayworth, because she wanted to
avoid being typed as strictly Spanish.
She is five feet, five and one-half
inches tall and never answers letters
promptly.

She has a passion for garlic and raw
onions.

She frequently sleeps in the raw
during hot weather and goes to church
an average of twice a month. She uses
a heavy perfume.

She doesn't like pork.

She is very fond of shrimp cock-
tails, never takes long walks and is
given to worrying about herself. Her
wedding ring is a plain gold band.

She knocks wood, is superstitious
about a hat on a bed, and declines

FEBRUARY, 1942

sailing invitations because she gets
violently seasick.

She dislikes cats, has never gone
skiing, and prefers stretching out in
bed when reading. Her favorite
comic strips are "Flash Gordon" and
"Blondie."

Rita Hayworth prefers pajamas to
nightgowns — usually tailored and in
stripes. Her eyes are hazel with
brown pigments.

She makes geometrical doodles
while telephoning.

She abhors having a clock near her,
goes to bed at irregular hours, and is
overly quick in criticizing other
people's mistakes. Her childhood idol
was Billie Dove, the silent film star.

She has a habit of biting her cuti-
cles, and believes that human snob-
bery is artificially acquired.

She rarely uses a cigarette holder.
"Only in public places when I want
to feel important."

She loves playing wild poker for
ten- and twenty-cent chips, and never
remembers the name of the person
she's introduced to. She religiously
sees every Bette Davis picture.

Her father is Eduardo Cansino —
third-generation star of the Spanish
dancing family. She weighs a hundred
and fourteen pounds.

Her hair was black but for photo-

graphic reasons is now reddish au-
burn with blondish highlights. Her
husband is E. C. Judson, an oil
executive.

She swims well, dives badly, and
deplores her excessive reticence. She
drinks three or four glasses of milk
a day.

She once stopped at a motel and
swears she'll never do it again.

RITA HAYWORTH sleeps on her
right side, takes about an hour to
fall asleep, and would like to be a
nurse in the event we go into war.
Her husband has always encouraged
her being a glamour girl.

She is usually punctual, graduated
from high school and is invariably
dressed on time while it is her hus-
band who keeps her waiting.

She never diets.

She cannot crochet or knit.

She adores strapless evening gowns
but does not possess one. She likes
sardines, oysters and the Russian
Ballet.

She cannot read music. She has a
mania for buying shoes and hats,
seldom wearing any of them. She is
made very nervous by heated dis-
cussions.

She goes to a masseuse twice a
week, eats (Continued on page 68)

The Editor
receives an

APPEAL-

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S. O. S. WINGS CALLING!
Come behind the editor's desk
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the problem that faced us recently

receive*

After fishing for an inspiration
we finally sent the following reply

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— and received in answer
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PUBLIC

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,4 1941
October 2*.

irn° Movie *irror
»PUVT Street

lor* City. ^ ^Ach i8 •

5 »• ^ our eft* of C°°Per6 A -connection"'

Peter Ashley! That
bell. We reached into the draw-
er and pulled out a story we had
on young contract players in
Hollywood, showing their trials
and — for the few fortunates —
their triumphs. Here's what we
found: The biography of a
young hopeful whoa changed
his name from Guston to Ashley:

vie

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y\ri<

There it was. James Suston — son of the Swedish consul
to Yokohama — who, when asked if he had any famous
ancestors, wrote, "I've been afraid to check up on 'em."

Our dilemma is now solved. We'll be glad to give Cali-
fornia's March Field a break, Private Guston. Here it is:

TO THE MEN OF MARCH FIELD, HOME OF THE

FLYING FORTRESS— ALL THE LUCK IN THE SKIES!

WE KNOW YOU'LL "KEEP 'EM FLYING!"

FEBRUARY, 1942

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Hollywood hasn't made up its
mind what to think about
Deanna Durbin and Vaughn Paul
and the other follow-suiters

What gives in the Paulet
Goddard-Charles Chaplin situ
tion? The colony's attitude
this is a great big surpr

WHEN Benjamin Franklin said,
"We must all hang together,
or assuredly we shall all hang
separately," he was expressing the
motion-picture credo some years in
advance. For it's Hollywood's pri-
vate opinion that "United we stand,
divided we fall" and the only fault
to be found with this maxim is
that, to date, the uniting force has
been not one of courage but of fear.
They've stuck together from fear
of almost everything; gossip, black-
mail, bad publicity, stories, pictures
and the bad men within the indus-
try. These last have been the worst
of all and instead of running them
out of town they've pandered to
44

them and huddled with them and
listened to them until it will take
years to work off the hangover and
get back onto the road of sanity.

As an example of what I mean,
let's take a prominent agent I know,
a man with all the charm, personality,
beauty of physique and mental ac-
complishment of one of the lower
order of primates. This gent wakes
screaming in the night, dreaming that
he's missed some important opening
or official function and he'd rather
be dead than to appear at such occa-
sions unaccompanied by one of the
ruling beauties. He has a list of the
most beautiful girls in town, num-
bered from one to ten. His secretary

What about Katharine Hepburn?
Hollywood thought one thing;
the public thought another;
Katie showed up Hollywood

has a duplicate fist. The day before
the function he "picks a number from
one to ten" according to his mood,
the secretary phones and the lady
attends the party with him. Why?
Because the poor darling is anxious
to climb to stardom; she doesn't really
believe he can, or will, help her, but
she's deathly afraid he can and will
harm her if she refuses. Occasionally
one on the fist makes the grade —
more often she doesn't.

If Hollywood had taken the bold
stand it's adopted since that Wash-
ington investigation, now that the
labor racketeers, Bioff and Browne,
have been sentenced, we wouldn't be
sitting back with our necks pulled in,

photoplay combined with movie mirror

luDaifl

ixmib

— that these piquant secrets and ques-
tion-mark rumors should be kept from the pub-
lic. But dauntless Hopper smoked them out

Damita: Even ex-husband
ol Flynn admitted openly
t what she did was eminent-
on the fair and square

Keeping everyone guessing is
Mickey Rooney who has a cer-
tain light in his eye but can't
make up his mind. Or has he?
And is it Ava Gardner, the
gal he's looking up to at
the Mocambo? Below: One
bugaboo was broken recently.
Result: Joan Fontaine's do-
ing some heavy pleading con-
cerning husband Brian Aherne

waiting for the next axe to fall.

The Hollywood Women's Press
Club certainly started something
when at their last meeting they de-
cided to give out awards for the best
loved and most cooperative stars and
also their own booby prizes for those
who cooperate least or not at all. Of
course they had their tongues in their
cheeks but they weren't quite pre-
pared for the avalanche that de-
scended upon them (to their secret
amusement). Studio after studio
called and said, "You aren't going to
mention our Miss so-and-so as the
least cooperative, are you?" Certain
stars whom they'd been inviting for
the past four (Continued on page 93)

FEBRUARY, 1942

STERLING

fin

FOR

What happened in Ciro's that night
made all Hollywood stop and stare.
Then they started to talk — of the
very things you're about to read

BY HELEN LOUISE WALKER

Guaranteed to dispel
any doubts about the
Sterling qualities: "Dr.
Kildare's Victory"

CIRO'S, in Hollywood, is pretty
blase. Goodness, it ought to be
by now! But there was a flurry
even in this diamond-studded joint a
few weeks ago when Louis B. Mayer,
entertaining a party there, rose from
his chair and circled the room with
a blushing, certainly a good-looking
young man, introduced him to every-
one in the place and announced
expansively, "This is Metro-Gold-
wyn-Mayer's next big male star!"

Now, this was big news in anybody's
night club and the customers all put
down their glasses and their forkfuls
of boned squab and stared and stared
and stared.

The flustered young man was Bob
Sterling. Mayer's party was in Bob's
honor and the entire affair seemed a
sort of official debut for Bob and an
admonition to the world at large to
keep an eye on him from now on.

As this is written, young Sterling,
slightly bewildered and brushing the
Stardust from his eyes after playing
what he says was "a real love scene
with Garbo — even if it was just a
little one," is taking stock of himself,
trying to figure out what comes next
and, still more important, what he
has learned from what came before
which will help him from now on.

On his fist of things-to-be-remem-
bered for his own profit he has
jotted "successful hitchhiking, selling
things, sorting people out, learning
from the wallops and learning not to
expect what you probably won't get!"
That last sounds a little morose, but
there's a reason and we may as well
start to sort this all out.

It all started, really, back in New
Castle, Pennsylvania, when he was
offered a three-week vacation from
his job, without pay. It was the

"without pay" clause that got him
down. For Bob had been making his
own way since he was a shaver and
he didn't consider a vacation, without
pay, as a vacation. He considered it,
in his lofty way, a "layoff."

"A vacation," he said, logically
enough — and to the boss, too — "is
something you get for nothing as a
reward for having worked your head
off all year. A layoff is either an act
of God or it's a raw deal and, which-
ever this is, I think I'll quit."

So he went home and said to his
mother, "I think I'll go to Hollywood."
She said, "I've been thinking that you
probably would. When do you start?"
Bob said, "In about half an hour."
And his mother went tootling off to
see that he had some clean sox to
take along.

It was all as simple as that. But
not quite so (Continued on page 95)

photoplay combined with movie mirrob

The best buy you've had i

years is this expose of

"Louisiana Purchase," which

covers Bob Clown Hope

and uncovers— well,
just take a look

■ •'■>

It has nothing to do with his-
tory books; this "Louisiana Pur-
chase" is a political sellout of
a mythical New Orleans to the
tune of Irving Berlin songs. Mr.
Hope chortles his way through
the film version of the stage hit
as a rugged State Representative

far-

His aides-de-camp — not mythical— are Mar-
garet Hayes and Kay Aldridge who cling
strongly to their ideals (above) . Two of twelve
girls chosen from 800, they passed tests on
beauty of face and figure, song and dance
talent, appearance in Technicolor. Margaret
came from Paramount's contract list; Kay
was a famous model. Jean Wallace (right)
started in the film as an unknown newcomer;
ended up as the new wife of Franchot Tone

2.SK

Fashion shows are things
of beauty — that is they are
until Bob Hope gets into
them. He turns the "LP."
one into a comedy riot.
Star poser is Blanche Grady,
former N. Y. showgirl-model

Chicago's contribution to the
"Louisiana" lineup is Alaine
Brandes (left), former model.
She came to Hollywood two
years ago, was voted by photog-
raphers the most photogenic of
the younger players, now gets
her first chance as a satin sat-
ellite of the ermined Mr. Hope

Sixth in the rounded dozen is
Katharine Booth, who came from
the studio's contract list. Over
them all reigns Hope, who sings,
dances (the first time in films)
and, as usual, loses most of
his furs and feathers, this time
during the big Beaux Arts Ball

Hollywood read the reviews, felt

something big was happening, knew

lit when they saw her as the

sane Lana in "They Drive By Night"

BY HOWARD SHARPE

SHE was fifteen, then, when she
came to New York, bound for
Hollywood; and the way she
looked, as she sat on the rail of the
Berengaria pulling her skirts higher
for the ship photographer's cheese-
cake art, was a scandal for a child
that age. Even for a young miss of
seventeen, which she said she was,
it was too much. She looked sexy,
which meant, in 1933, as much like
Jean Harlow as possible. Ida looked
very much like her indeed.

Her hair, if anything, was more
platinum. Her clothes were cut for
a Harlow-like figure: nature had
given Ida that, all of it, plus eye-
brows, which she had discarded in
favor of pencil lines. Hollywood,
when she got there, did one double-
take and typed her at once. "We will
bill her," they said, "as a kind of Jazz-
age holdover," only up-to-date — a de-
pression flapper, because that's what
she is."

FEBRUARY, 1942

But, as sometimes happens, Holly-
wood was wrong, and she wasn't at
all; and the next two years were
misery after the varnish of newness
wore off. She took a house with a
swimming pool, because one did. Her
mother lived with her, not only be-
cause a girl had to have a mother in
Hollywood but because Ida was fif-
teen, and After All. She bought a
big car, a radio-phonograph with a
stack of hot-sweet records — no "clas-
sical" music, she couldn't abide the
stuff — and an apron. She went to
previews in the big car, she gave
parties in the house and around and
even in the swimming pool, with
the phonograph going all night long.
The apron she brought out on oc-
casion to wear while she beat with a
spotless spoon at the bottom of a
spotless, empty cooking pan over a
cold stove. Studio photographers
snapped her then; the pictures looked
very nice, although completely un-

real, on pages of magazines opposite
pictures of her in a Harlow eve-
ning dress. The stories accompany-
ing the photos were titled "Frankly
Foolish," "Lupin' The Loop To Holly-
wood," and "You've Got To Be
Naughty To Be Nice." Once some-
body fell into her pool, fully clothed,
whereupon the newspapers said you
had to allow yourself to be pushed,
with all your clothes on, into Ida
Lupino's pool, and not get mad after-
wards, or Ida wouldn't like you. There
was a story about that.

Also, on occasion, she made moving
pictures for Paramount in which she
invariably played an American girl
with a slangy accent. The studio said
she had the best American-girl accent
on the lot, which always amused her
because she was a true Cockney,
born within sound of London's Bow
Bells. No, the studio said, you are-
what you are and as such you are
perfect, and there's no point giving

you parts where you have to act. That
would ruin you as a property. No,
once and for all ... .

So that she was unhappy really,
bored and furious and homesick for
England. Jack's letter, the one that
asked her to marry him, came on an
afternoon when things had been
particularly bad. She took it into
the garden to read. The postmark
said Baden-Baden, which surprised
her mildly; she thought he'd got back
from his tour before this. She sat
sideways on the edge of a chair,
tapping the rim of her sun glasses
absently against her teeth as she
read the impulsively written pages, all
seven of them.

After she had finished she looked
very hard, for a minute or two, at
a blackbird on a eucalyptus limb,
trying to concentrate on the bird.
Bjft it wasn't any use.

When her mother, Connie, went
into the garden later Ida was holding
both hands over her face, but the
tears were dripping dismally down
the backs of them, even so. She had
never been one to take emotion
lightly, and she did not take it lightly
now. You could hear what Ida
Lupino thought of Hollywood if you
stood in Santa Monica that night.
When she was finished, a little quieter,

A Lupino-Hayward pose in their
courting days. He started by
telling her to wash her face

she told Connie she was going back
to England, going home. To Stanley,
her father. To Jack.

"What," Connie asked, nervously
peeling the polish from her nails,
"will Paramount say?"

"As if I cared/"

But she did. She was honestly
glad when her bosses, sentimental to
the last, told her to try it for three
months. "If you still mean it then,
we'll tear up the contract," they said;
after she'd thanked them and been
shown to her car they turned quietly
to each other, smiling. They knew
what London, contrasted with Holly-
wood, would do to a girl of Ida's
spirit.

Still, they couldn't know that one
evening, even while she and Connie
and a servant were packing trunks
for the journey, a cablegram would
come, saying incredibly that Jack had
had an accident in Germany, cycling
one day; that he was dead, that de-
tails would follow by mail, that ....

"All right, don't read any more
of it," Ida said. She was holding a
silk blouse in her hand; she folded
it, tore it neatly in two, folded it
again and placed it precisely into a
corner of her steamer trunk.
"Stanley's meeting the boat train,
didn't he say? Don't forget that

packet you've tied up for him. Put
it in the big case."

"I'll do that now," Connie whis-
pered, although she had done it the
night before.

Ida returned to Hollywood before
the three months were up. The second
night, at the Savoy Bar, in London,
Stanley had told her she would want
to do that. "It's your new life, your
whole new world," he'd said, grin-
ning cheerfully at her over his glass.
"You've had a rotten do, Ducks, but
you'll pop back and things'U be better,
wait and see."

And she did, and they were. For
one thing, she met Louis Hayward.

The new house she took was in the
Outpost, clinging to the side of a hill
and boasting a wandering sort of
garden that fell precipitately into that
belonging to the house below. Louis
owned the house below. On the rare
occasions when she paused to think
about it, she knew that he was also
English, also of her profession, and
that she had met him once, briefly,
three years since on an Elstree sound
stage. They had not hit it off. He
had thought her a silly punk kid, and
she had found him offensively ar-
rogant.

Sometimes, though (it couldn't be
helped, living so close and all), they
met in the late afternoon when both
were out walking dogs.

The cliche situation of the friendly
pooches' cementing their owners'
friendship did not work in this case,
since the animals loathed each other
on sight and frequently fought, with
both Ida and Louis commanding their
respective pets to desist from slum-
ming and come away from the
rabble.

But once Louis stood alone, just
around the bend of the road as Ida's
collie led her along it. It was one of
those evenings, with a white moon
washing the whole incredible Cali-
fornia backdrop in a chalk fight,
silhouetting Louis to his advantage,
making him look alone and — some-
how— bereft. Suddenly contrite, Ida
pulled the collie back.

"Is — your dog in hospital?" she
asked.

"He's languishing in his house,"
Louis said; adding, as if pleased with
the thought, "Securely chained, too."

"How really beastly of you," Ida
told him warmly.

"You don't know the circumstances.
He ate part of a neighboring clergy-
man last night, and this is his punish-
ment. Besides," said Louis, "I've
had in mind to give you a talking to,
lately. Come along, Lupino."

"Likely!" she said, with the sound
of the Bow Bells in her voice. " 'Oo
are you telling 'come along,' I'd like
t'know?"

There was, then, the delicious

photopiay combined with movie mihbor

Tightness of his accent in return, the
perfect adenoidal Cockney usage that
only the English, somehow, can
achieve: "Come off it, 'oo d'you think
you're coddin'? Keep a civil tongue
in your 'ead, Miss."

"Very well, Mr. Hayward," she said,
almost demurely.

They talked late that night, and the
next; and six nights later they talked
again, on which night they fought
heatedly into the small hours. "It's so
wrong, the whole thing," Louis kept
insisting. "Don't you see? You look
such a fright . . . Let that hideous hair
grow out to its natural color, get some
decent clothes. . . ."

"That's fine for you to say!" she
screamed, hating him terribly, utterly
unaware that she was falling in love
with him. "You're a man, you don't
have to worry about bleaching, you
look the same always, you're no great
shakes yourself, blast you!"

HE said other things, during the
months that followed — while she
fell in love with him irrevocably, and
admitted it to herself, and while she
worked to acquire that thing called
personal integrity, incalculably valu-
able. . . .

"Wash your face," he said, referring
to the ridiculous make-up she wore.

"Look," he said. "No, don't pull
your hand away. I'm being friendly
. . . there's a period in life when things
have to come to you. Do I sound like
a third-rate lecture? Sorry. But
they do, and you have to sit back for
them. Wait for them now, Lupino."

"I can't!" she told him, then.

But she did. She waited for sixteen
extremely long, frantic months, while
nothing happened, nobody telephoned
her, no one hired her; while her pro-
fessional standing, her career and her
ego went to pod; and while not a
single person, except Louis, believed
in her at all.

That was in 1937. Ida Lupino had
had, altogether, four years of a kind
of success which was almost big, not
quite. She was not ever a star. Para-
mount remembered her during that
time, which was the trouble; they
remembered her, as something in the
past, a personality who had been
terrific, but wasn't any longer.

Louis said, "Change over. You're
phony now. Let your hair grow out.
I'll stick by you."

He stuck by her, which was the
wonderful thing about it all.

That, and a mild attack of infantile
paralysis, of all things. She caught
this particular bug during an epidemic
current at the time; and it was a poor
thing of a germ, as germs go, al-
though even in its debilitated state it
was busy enough to put Ida to bed
for three months. She came out of
the illness with no bad effects and

FEBRUAHY, 1942

with a great new gift, a talent she
hadn't known she possessed. Delir-
ium merged into simple fever, which
became, finally, the colossal boredom
of the bedridden. She had, of course,
heard wild and lovely music during
the delirium; but, with the diminish-
ing fever, a few majors joined the
original minors; when, at last, she was
simply, dully recuperative she could
remember the melodies. They were
new, enchanting, even brilliant, she
decided, as she lay listening to her
memory singing them.

The ennui was a good thing, then.
She knew comparatively little of
music — good music; but she had to do
something, which meant (at that mo-
ment, to the magnificently neurotic
child she still was) composing. Fortu-
nately, Ida Lupino was born with a
rare combination of abilities: Intelli-
gence, imagination, an ear attuned to
almost-absolute pitch, the memory of
an elephant, and discrimination. She
heard music; she had inherent good
taste about music; and, forthrightly,
jumping over the dull long learning
period, she started creating music.

To the surprise of everyone, includ-
ing Louis, it was pretty good. She
wrote fifty songs during her time out
from pictures.

When Paramount signed her again,
for three pictures a year, people read
the two-line paragraph about it in
Variety and with gasping yawns
turned to the film sections of their
morning papers. Until, one morning,
the reviews of "The Light That
Failed" appeared. "Here," said the
reviewers happily, "is an actress who
can imbue an overworked role with
new spirit, new meaning."

This development was not im-
promptu on Ida's part. She was pre-
pared, when the chance came. Seven
years before, Director William Well-
man had promised her the part of
Bessie in that picture, if he ever made
it. When she heard that now, finally,
he had got round to it, Ida went over
to Paramount (where she had not
made a picture for months) and raised
what is technically known as a stink.
"He promised!" she told them passion-
ately. They put it up to him, where-
upon he admitted that he had. He was
a man of his word, even in Hollywood.

She couldn't let him down.

A lull of six months followed that
role of Bessie, for no logical reason;
then Warners came to her with a story
called "They Drive By Night." She
did not make the other two pictures
for Paramount. She was too busy be-
coming a great new star, under a great
new Warners contract.

They were very dressed up that
night; Louis in tails, Ida in a new
Irene number. Louis had the town car,
liveried chauffeur and all; reserva-
tions at the five smartest clubs in town

had been made earlier by phone; and
his orchids nestled sumptuously on
Ida's furs. "Looks, sounds and feels
like a celebration," Ida commented.
"Why?"

"You're going to be proposed to,"
he said.

"What, again?"

"This time I mean business. You re-
member I said pride had a lot to do
with us and marriage? Well, I've got
'The Duke Of West Point' under my
belt now. The reviews on it are good
and it means a new contract, I think.
And you had to come back. You've
done that. Can you think of a single
good reason . . . ?"

"No," she said, looking at him invit-
ingly. He accepted the invitation.

"Tell him to drive us back home,"
she said (Continued on page 105)

Lupino-Hayward happy-
marriage picture: They
look over their grounds

Joseph Cotten, young, handsome, blond,
wants to stop wearing Gay-Nineties
rigs and begin making love to heroinesi

A strange man gave Rise
Stevens a gingham rabbit;
she ended up by taking
him on for better or worse

bund-ttf

A see-for-yourself proposition as to

Opera a La Hollywood

HAVE you ever met an opera
star face to face, in the broad
daylight — without the trappings
and trimmings of a Carmen or Deli-
lah? If not, let me present to you one
of America's best — plain everydayish
Miss Rise Stevens who could be you
or I or the girl who works on the
seventeenth floor of any office build-
ing. There is no folderol non-
sense about this American young lady
who happens, through fate's kindness,
to be occupied in the business of
singing. And what singing, as you
jolly well know if you've heard Miss
Stevens in the delightful picture, "The
Chocolate Soldier," with Nelson
Eddy.

Born in New York in a typical av-
erage American family, Miss Stevens
attended various grammar schools
about the city, graduating from the
New Town High School at Elmhurst,

photoplay combined with movie mtrbor

tha O'Driscoll wants to be
t-free; she evolved a
ue dating plan to insure it

Philip Reed"s a bachelor, a "best"
tennis player, a violinist. He's
also set in his ways; he admits it

Evelyn Keyes can't think up a good
alibi for her actions at night clubs
so she stays home and reads instead

f, out of 1 00 candidates for special introduction to you, these five winners were chosen

New York. At ten she discovered the
golden flute of magic within her throat
and made her first public appearance
singing, over the air, on the Sunday
morning "Children's Hour." At seven-
teen she played the mother in the
school's version of "The Chocolate
Soldier," little dreaming, as the books
>ay, that one day she'd be the glorious
leroine of the same operetta in the
Uamorous town of Hollywood.

Following school Rise was engaged
or the Opera Comique series at the
ieckscher Theater in New York. Her
roice stood out like an orchid in a
landelion bed, so much so that Ma-
lame Anna Schoen-Rene who heard
ler, was dumbstruck at the knowl-
edge that Miss Stevens had never had
i lesson. Instantly she set about ar-
anging for her protegee a special
cholarship at the Juilliard School of
flusic.

Then something happened that
brew three gadgets out of line — Miss

EBRUARY, 1942

BY SARA HAMILTON

Stevens, ambitious and poor, turned
down an offer from the Metropolitan
Opera Company. She felt it had
come before she was quite ready for
it. In 1935 she went abroad for the
first time, studying at the Mozartteum
School at Salzburg and trying to ar-
range for engagements with people
who didn't want to arrange any such
thing.

In Paris, while she was practising
one day, a man knocked on her door.
Questions followed and the music -
loving neighbor immediately ar-
ranged for concerts throughout the
small towns of Czechoslovakia and
Hungary for Miss Stevens.

A year later she made her big
European debut at Prague in the
opera "Der Rosenkavalier," singing
the role of Octavia. Walter Szurovy,
a handsome, blond Hungarian actor,

who had heard of the young Ameri-
can who was about to appear as
"Mignon," went backstage to see
what all this talk was about. Rise,
reposing in her draped vehicle, was
waiting to be hauled onto the stage.
The actor tweaked her protruding
bare toe. Rise's amazed face poked
through the curtains.

"Here, good luck to you," he said
in his native tongue and threw into
her carriage a gingham rabbit.

Later, of course, they were married.
They are immensely happy.

Triumphs in South America fol-
lowed, with Rise the first North
American to appear at the famed
Teatro Colon at Buenos Aires. Eu-
rope, America, South America again
hailed the young star and, finally
and at last, she felt ready to ac-
cept the Metropolitan offer in New
York.

M-G-M first heard her lovely voice
during her San Francisco opera

Martha O'Driscoll, girl who bowls
over bowlers with her high score,
takes in the Trouville Club open-
ing with young Richard Denning

engagement on the West Coast. A test
followed and the delightful "Choc-
olate Soldier" resulted.

She has ideas, sound, sane and
American. She believes, for instance,
that opera should be given to the peo-
ple, those who really love it, at prices
reasonable enough that all may hear
it. Opera itself should progress as an
art as other fields of entertainment
have. The Government, if necessary,
should get behind it, forming opera
stock companies across the land.

She approves the swinging and jazz-
ing of operatic airs. It's the people's
way of interpreting good music, she
feels.

She gives orchids to Benny Good-
man for his knowledge of music and
feels Mr. Goodman is capable of con-
ducting a symphony orchestra, so deep
is his knowledge of music.

Yes, she's one of us, her fans, this
brown-eyed, brown-haired young lady
with the voice. And if we have our
way, we'll have less nonsense and
more of Rise Stevens in pictures.

Gentleman of the Old Sowf
The oddest thing that ever hap-
pened to Joe Cotten was Orson Welles.
The two, complete strangers to each
other, met when a humorous slip

made during a serial radio show threw
the two spectators into hysterics. An
usher promptly threw the gentlemen
into the alley and thus was born a
partnership that has lasted through
hell and high water — mostly high and
very hot water.

Joe had come up from Petersburg,
Virginia, his home town, to New York
to be an actor. Walking into Mr. Be-
lasco's office he asserted that he would
like very much to become an actor.

"Very well," Mr. Belasco agreed
and that was that. Joe was an actor,
understudying Lynne Overman in
"Dancing Partner" and Melvyn Doug-
las in "Tonight Or Never." The lead in
a Boston stock company followed and
after a year Joe was back in New
York for a new play when chance
threw him into Orson. From then on,
Orson went his way and Joe went
Orson's way, following him into his
W.P.A. Mercury Theater project, Joe
sometimes playing bits and sometimes
leads. When Hollywood opened its
doors to Orson (What an opening!)
Joe came along playing a leading role
in "Citizen Kane" and playing it so
well people kept asking for him, con-
cerning him and about him. Was he
young, old, middle-aged, or what?

The "what" of it is, Joe Cotten is a
young, handsome, blond, unactorish,
genuine male who acts only before a
camera or an audience. He is the best
friend Orson has in this world. It goes
without saying Joe is loyal and pa-
tient. Together he and Welles have
written a play, "Journey Into Fear,"
in which they will both act for the
screen. Orson tells me Joe gets the girl
in their new one. Joe says he doesn't
want her unless he can get out of
those darned 1890 clothes he's always
wearing and lean up against a ship's
rail with her in the moonlight like all
the other heroes.

Joe was the sensation of the stage
play, "The Philadelphia Story" (next
to Hepburn, that is), and played in
the show both before and after his
"Citizen Kane" venture.

After the show had completed its
run, Joe returned to Hollywood to
play with Merle Oberon in "Lydia,"
as another Gay Nineties beau, and is
now actively engaged in the Welles
picture "The Magnificent Ambersons,"
still another gallant of our yesterdays.

When the ladies see Joe as he really
is, there will be a new trend toward
the Cotten fad. Only, alas, he's mar-
ried, and happily, to a former fashion
magazine editor. He reads everything
that's good, including Orson's scripts,
and plays anything he's given on his
friend's radio show, if it's only a line.
He plays a crack game of tennis and
loves to live in California. Occasion-
ally he lapses into his Southern dialect
and then he's really irresistible. Or
have you found him that already?

A Peach From Peachtree St.
Soft brown eyes, natural blonde hair
worn in longish curls, a quiet voice
and keen determination belong to Miss
Evelyn Keyes, the heroine in the un- j
forgettable picture, "Here Comes Mr.
Jordan," and the maid in "Ladies In i
Retirement." With two smash hits
such as those in a row and "Martin j
Eden" in the making, to Evelyn be-
longs the Keyes to the Kingdom of
Success.

Four years ago Evelyn came to j
Hollywood from her home in Atlanta.
Georgia, with several hundred dol-
lars she'd earned dancing in night
clubs. She was going to crash movies
and she did.

Luck was with her almost from
the start. Through friends she met
an agent who was willing to take
the newcomer on the rounds of the
studios' casting offices. At Para-
mount, Jeanie MacPherson, writer for
Cecil B. DeMille, spied the Georgia
peach and became interested, so much
so she insisted boss Cecil give her a
hearing. Impressed with Evelyn's
quiet manners, perfect diction and
good looks, Cecil put her under per-
sonal contract. For two years she did
small bits and some radio work, in
which she shone like a diamond.

A year after she'd made a test for
Suellen in "Gone With The Wind
she was given the part and you can
imagine Atlanta's welcome when Eve-
lyn returned home for the premiere.

When her contract with DeMille
had expired, Evelyn traveled to Co-
lumbia where she attracted more at-
tention in the Brian Aherne picture,
"The Lady In Question," and, in time,
was rating such sugar-plum roles as
the "Mr. Jordan" one.

Her three older sisters and one
brother and mother haunt the theaters
in Atlanta when Evelyn's pictures
come to town. Baby has made good
with a vengeance.

In Hollywood, Evelyn, who is un-
married, shares an apartment with a
girl friend, plays tennis, reads avidly.
She reads one classic a month, re-
gardless.

Last summer, with free time on
her hands, she enrolled at U.C.L.A.
for the contemporary English drama
and Shakespearian classes. Night
clubs seldom see her, for Evelyn can t
find enough alibis to cover up her
nonindulgence in powerful liquic
It's either alibi or be thought a snob,
so Evelyn stays home and reads and
practices on the piano.

She thinks Glenn Ford the greatest
young actor in Hollywood and studies
his every move in their picture "Mar-
tin Eden."

Texas, the Lone Star State, really
gave her birth. When her father died
(Evelyn was then a year old) the
family moved (Continued on page 91)

photoplay combined with movie mikw'S

bis is Mr. Normal: Six feet three of average American guy — Fred MacMurray of Paramount's "Take A Letter, Darling"

W elbmirnc

BRUARY, 1942

Interested in getting what you want? Female tears don't

work any more; this device does. It rated Lucille

Ball a home, a husband — and happiness

BY HELEN GiLMORE

Picture of a vivid Cuban
and a spirited blonde settling
down: Lucille and her husband
Desi Arnaz in their ranch home

THE deafening buzz in the RKO
commissary rose a good octave as
the girl with the hair like a tossed
salad of gold paused in the doorway.

"Hi, Lucille!" a table of wagsters
hailed her. "Join the comedy club.
All you have to do is tell the funniest
thing that ever happened to you!"

The girl moved over to the group
with a lithe casualness, her long-
lashed blue eyes measuring them.
"Well, the funniest thing was when
Desi and I were on our honeymoon."
She grinned suddenly and sat down.
"He was filling an engagement at a
night club in Miami when the Presi-
dential Birthday Balls were taking
place and Miami asked him to be
master of ceremonies for theirs with
me as guest star. The Governor of
Florida was to be there, the Mayor
of Miami and a slew of dignitaries.
I went into a dither memorizing titles
so I wouldn't muff the event.

"The big night came. I draped on
the white furs over my favorite pink
evening dress with eighteen yards of
jfluff around the bottom and off we
iwent with motorcycle police escorts,
Isirens, spotlights — super premiere
Istuff.

"Everything was wonderful. Desi
(was going like a house afire. Then
he introduced me."

At this point Lucille jumped up to
give an imitation of herself. "I ap-
proached the microphone daintily —
oh, so daintily — got through my little
speech of your excellencies and your

raauABY. 1942

honors without a miss, then bowed
my way backwards during the ap-
plause to my seat. That is, almost
to my seat. Because just as I got
there, my heel struck the chair, both
feet went up in the air — but air, I'm
telling you — and me and the eighteen
yards did a reverse spread eagle right
on the back!"

To the vast amusement of the com-
missary Lucille proceeded to fall over
the chair at the next table and sprawl
on the floor, smart slacks, polo coat
and all.

"What did Desi do?" someone
laughed.

"Do?" She scrambled up, snatched
a fork from the table and held it with
both hands in front of her to repre-
sent a microphone. "He just hung
on to the mike with both hands, prac-
tically paralyzed with laughter. So
was the whole auditorium. When he
finally got his breath, he pointed at
me where I was still on the floor with
four men trying to hoist me and said
helplessly, 'Ladies and gentlemen —
my wife' — and went off into another
gale."

Lucille dusted herself off vigor-
ously. "That's the time Ball got a
bigger laugh than Hope or Bergen
ever did!"

There you have the side of Lucille
Ball that Hollywood sees. But there's
another girl who walks behind the
seemingly assured star — a desperately
shy girl whom Lucille has had to
thrust aside ruthlessly to make

First payoff on her new theory
was breaking into "Roman Scan-
dals" as a poster-model girl

She came to Hollywood on a one-film
chance; stayed to have her hair
darkened and to make her fortune

her place in the world. This second
Self, who really came first in Lucille's
life, had her roots in a strange and
unhappy childhood where tears were
her constant companion, instead of
the laughter which is now the Ball
stock in trade. And in her conquest
of tears lies the solution for many a
misfit life.

When Lucille was two years old the
sudden death of her father, who was
an electrical engineer in Butte, Mon-
tana, broke up the Ball home. Her
health shattered by the blow, Mrs.
Ball returned with Lucille and her
baby brother Fred to her people in
Jamestown, New York. Lucille was
sent to live with a relative, a woman

They know who brings home the
bacon: Sir Thomas of Chatsworth
and Pinto the Great play up to
head of the house Desi Arnai

well along in years whose old-fash-
ioned background of starched self-
discipline did not equip her to handle
the high-tensioned, imaginative
youngster with whom she found her-
self sharing her home. The child was
frowned upon for having her nose
constantly in a book and upbraided
when she was caught in the extrava-
gant play-actings which in her loneli-
ness took the place of companions.
Nevertheless, she contrived to create
two imaginary playmates who were
her refuge through the years, Bob
and Sassa Frassa — the latter, a horse,
if you must know.

The child's appalling sense of isola-

tion began to affect her school work.
Called upon to recite in class, her eyes,
like teacups of blue china that are too
full, would brim over and not a word
could she utter of a lesson she knew
by heart. Her teacher tried to bridge
the gap by organizing a birthday party
for Lucille at school. Word of this got
to Lucille's guardian who in what she
meant to be kindness told the young-
ster of the surprise party. She ended
by saying flatly, "I thought you'd bet-
ter know so you would be prepared."

This precipitated another storm of
weeping and the two looked at each
other in despair across their separate
worlds. Even today Lucille bears the
scar of this habit when, confronted by
bafflement, or any of the old frustra-
tions, she seeks quick escape in tears
which as quickly pass.

Release came to the child when Lu-
cille's mother, who had married again
in the meantime, sent for her daugh-
ter now that she could once more offer
her a happy home. In Jamestown,
where the Hunts, her mother's
French-Irish family, have lived so
long that a street bears their name,
the tall girl, whose grace was yet only
a promise, came into her own. Under
the warm understanding hand of her
mother, whom she has always wor-
shipped, Lucille became a leader of
the younger set. She was jumping
center of the girls' basketball team.
Her horseback - riding was good
enough to win her a spot on a wom-
an's polo team. She became an ex-
cellent shot with a gun, drove cars
and even flew a small private plane,
this girl who was too timid to recite
in a classroom.

After a year at the Chautauqua
Institute of Music in an effort to fol-
low in the footsteps of her mother,
who is an accomplished pianist, Lu-
cille prevailed upon the family to let
her attend John Murray Anderson's
school of dramatics in New York. For
the years of damned-back childhood
were crying for expression. But
somehow the school didn't seem to
turn the trick. Alone in the biggest
town in the world, she found that all
the old fears were returning — fear of
people, fear that they didn't like her,
fear of failure.

Bette Davis was the bright and
shining student there. Not so Lucille,
who gazed at her with envy and de-
spair. Once again fright rose in her
throat and tears in her eyes as she
mumbled through diction classes and
hugged the backdrop whenever she
was given bits to play in class dramas.

At length the whole tear psychology
came to an abrupt climax. Discour-
aged with her progress at the dramatic
school, Lucille answered a chorus call
for Ziegfeld's road show of "Rio Rita"
and agonized through weeks of the
show when the stage manager would

yell at her, "Hey, you, why don't you
open your mouth and sing?" Terrified,
she would make her mouth go, pre-
tending to be singing with the others.

Finally the day came when she was
handed her notice. The world went
black. Crying softly, she walked along
the street to her hotel room. Would
it be poison or just a quiet dive out
the window? As you may have sus-
pected, it was neither. Sensibly
enough, she tried to get her job back,
haunting the stage manager for two
days without daring to speak to him
until he finally shouted, "No, you
can't have your job back! Now will
you stop following me?"

Lucille stood on the curb and wept
some more. Then something occurred
which has happened in the lives of so
many of us. A chance meeting, a
chance word and suddenly a key is
thrust into our hands which opens the
door to a totally different life. In this
instance, a friend of Lucille's hap-
pened by. He asked what was the
matter and after she had blurted out
her story, he said:

"Don't be that way. Crying does't
pay off." He scribbled down an ad-
dress on a card. "Here. If you need a
job, go down to this company. They'll
give you a job modelling a coat for
twenty-five dollars." And he was
gone.

LUCILLE stared at the card. What
had he said? "Crying doesn't pay
off." Brother, was he right! Maybe
she'd better try laughing. At least if
she laughed at herself first, she could
beat the rest of the world to the
punch — maybe save herself the punch.
And from that moment she began to
build her armor of comedy.

Flinging the tears out of her eyes,
squaring her shoulders and her chin,
the future female comedy riot re-
ported at the address on the card. And
one of America's most famous models
was born, the girl who was soon to
become a mannequin in the famous
Hattie Carnegie salon, the Chester-
field Girl and finally be chosen as one
of the famous poster models imported
by Mr. Goldwyn for the Eddie Cantor
picture, "Roman Scandals."

Lucille was anything but agog over
the prospects of going to Hollywood.
The wounds of her drama school and
"Rio Rita" experiences were still too
fresh. But she was badly in need of
a rest. Six weeks in the celebrated
California sunshine with all expenses
paid there and back — not bad.

But what with one thing and an-
other, the "back" didn't take place for
almost as many years. First, because
the girl with the sultry mouth and the
little-girl eyes seemed to have caught
on luckily to one of the rings of the
Hollywood merry-go-round. Then.
when the ring (Cont'd on page 101)

photoplay combined with movie mirror

f tfl> !\

owers look at
Judy Garland Rose all ready
Valentine Eve celebra-
tion^ witfi husband Dave. The
star.of "Babes On Broadway"
says hello In a conquest dress
of ioft net with a huge ruffle
accenting the hemline. She
sweeps along dramatically in
a long fitted green evening
coat with a three-button fast-
ening; she carries a muff that
any girl can have if she just
stitches up some soft net and
sprinkles it generously with
white violets, the same flow-
ers that blossom out in Judy's
curls. Gala girl, gala mood,
Want diamond neck-
e by Gershgorn and Co.

Photographs by Carpenter

Rose-colored version of a plain winter suit: Judy takes a

classic steel-grey wool two-piece model, makes it new and

different by accenting the tight-fitting jacket with grey

velveteen collar and cuffs. Soft grey feathers fashion the

•perky bonnet; a pretty veil adds a bit of feminine witchery
62

photoplay combined with movh mibroh

IRUARY, 1942

Laurels to Garland for another prize-winning idea of how
to change an outfit to suit yourself in novel fashion. Add
huge beaver buttons to the jacket; sling a big beaver
muff over your arm; top everything off with a wide beaver-
trimmed hat. Outfit from Saks Fifth Ave., Beverly Hills, Cal.

FROM

DAVE

From Dave to Mrs. Rose: Valentines every
day in the year for wearing dresses like

this. To be specific, it's a Jack Perkins
black crepe with a.wide accordion-pleated

hemline, a so-slim belt, bodice and sleeves

of sheer marquisette. The little skullcap
arid the Gershaorn diamond clip are standouts

; photoplay combined with movie mhwoh

JUDY

ess in a mood to match the
V9 you truly" light in Dave's
for the little star of "Babes
roadway." Of light blue net, it
res a glitter-girl hit by silver
sprinkled from bodice to be-
ne hipline and by the wide
> of net from the ruching to
oor. Judy drapes a length of
prinkled with rhinestone over
air, clasps it together at the
Jer with a gay rhinestone pin

Cory Grant is earning money,
big money, in "Arsenic And
Old Lace." Just how selfish
is he about his pay check?

You'll find
revealed

glowing facts
by "Fearless"

now

Hyman Fink

J I

^n^c

e Truth About STABS' CHARITIES

Some stars are charity "snobs"; some, secret
champions. A straight-from-the-shoulder
talk on Hollywood's rights and wrongs

8? "FEAKL&S

Wally Beery dispenses his charity with that "Oh, gosh,
it's nothing" attitude he's made famous on the screen

vf EARLY, on the night before
| Christmas, Wally Beery gathers
' together all the waifs and strays
f his studio — and of Hollywood in
eneral — and takes them to his home
)r a Christmas party. In numbers
ley run anywhere from fifty to three
undred.

Some of the guests may be stars of
le past now sunk to playing extra
Dies; others may be grips or prop
oys or out-of-work movie techni-
ians of any sort; but the majority of
le crowd is just guys who have no
omes or close relatives with whom to
lare this most sentimental of holi-
ays. Not one there is "important."
/hat's Wally's only demand — that
(lose invited be genuinely in need of
I little Christmas cheer.
I The party is always terrific. Laugh-
ibr and horseplay and song and liquid
jfreshment get mixed up with Gar-
antuan eats. Just before dawn and
le final good-bys come, Wally slips
ireryone a present. Some are large
nd some are small, but all are in

iBRUARY, 1942

relationship to the need of the re-
ceiver and all are handed out by
Wally with that "Oh gosh, it's noth-
ing" attitude that you have seen him
put across a hundred times on the
screen. Wally never thinks of it as
charity. He calls it "Having my gang
for Christmas Eve."

Hollywood, of course, gives its
talents and support to the regular
"organized" charities. Bob Hope plays
all benefits for all things and there
is no screen personality who isn't
called upon constantly for cash and
free appearances for this, that and
the other worthy cause. Excepting
only Garbo, all stars respond to these
appeals to some degree, though Hope
surpasses them all.

But the truth about the real Holly-
wood charities is that they are ex-
actly like everything else in the place
— entirely personal, highly dramatic,
frequently fantastic and largely un-
sung. The truth about them is, too, that
there are some unpleasant incidents
connected {Continued on page 81)

Winner of the charity crown,
when it comes to giving out
time and money, is Joan Crawford

"A tender little anecdote" is
what "Fearless" calls the account
of Loretta Young's good-deed day

Portrait of a Shy
Glamour Girl

(Continued from page 41) very little
candy, and loves to dance at any time
or place. She never wears girdles.

She wears flesh-colored lingerie.

She was born on October 17, 1918, in
a New York City hospital. She lives in
an apartment and her mother is a Hay-
worth of an English acting family that
first trod the boards in Shakespeare's
day. She believes that considerable
money is essential to achieve happiness.

She loves night clubs and throws her
clothes over a chair when retiring. Her
jewelry consists of a bracelet, ring, watch
and earrings — all made of gold.

She wears filmy black lace things only
when posing for publicity pictures. She
is bored at baseball games.

Her parents tried desperately to cure
her of her shyness as a child. She is not
given to procrastination, likes her steak
done medium rare, and has to have her
hair thinned out because it grows so
thick.

She does not like English mustard or
frog legs. She thinks her husband's
greatest asset is his enthusiastic interest
in her career.

She likes motoring only when she does
the driving.

She takes a hot shower and always
tapers off with cold water.

RITA HAYWORTH has never been out-
side the United States except to visit
or work in Mexico. She is right-handed.

She takes only orange juice and cof-
fee for breakfast.

She likes herself best in red or blue.

Her husband is of Danish descent, and
she listens with her right ear at the
telephone. She hates anything of a bilious
green color.

She was married in Yuma, Arizona, by
a justice of the peace, and nearly every
morning, when not working, she listens
to all the family plays on the radio.

Her father was born in Seville, Spain.

She has never been on a steamship.

She never follows a hunch.

Her favorite aperitif is Dubonnet, she
visits a beauty parlor once a week, and
thinks the current pompadour vogue is
unflattering.

Rita Hayworth has at home the guitar
she used in "Blood And Sand," which
neither she nor her husband plays. She
has never seen a Gene Autry film and
nurtures a secret desire to vacation some-
day in Maine. She is bad at spelling
and worse in arithmetic.

She is frank, sincere and soft-spoken.

She hates Mexican food, contract
bridge and affectation in people who are
merely lucky. She seldom catches cold.

Her favorite musician is Vincent
Gomez, the guitarist, and she is happiest
when working the hardest. Her kerchiefs
have fancy borders of bright colors.

Her mother was born in Washington,
D. C. She paints her toenails and
wishes her husband would not drive so
fast. She would rather rhumba than
anything else, and her husband is always
complaining about the way she drives.

She has never been to Sun Valley, likes
going out for a smoke between the acts,
and likes to read poetry aloud to herself.

She is constantly humming nondescript
tunes. She calls her husband Eddie and
the only book she has read more than
once is something called "The Way of
the Transgressor."

She thinks the average man presents
a much more aesthetic sight on the beach
than the average woman. She does not
care for caviar.

■

IN THE STORES

BY MARION HAMMON

VICTORY CAP: Here's a cute little
campus captivator if we ever saw one.
It's knit of wool and embroidered with
a dashing Victory emblem in perfect
harmony with the basic design of the
cap. Tie it
over your
curls for win-
ter sports,
spectating, or
just ambling
back and forth
to class. $1.25
to $1.50 at
leading de-
partment
stores. Or, R.
H. Macy's,
N. Y.

• • *
SILKEN FILM: Something new in
the beautifying field is Toushay — a
luscious fragrant peach-colored lo-
tion. You smooth it on before wash-
ing your undies, or sorting carbon
paper, or busying yourself with dusty
household tasks. This lotion acts as
a silken protection against harshness,
redness and roughness. Even after

washing, your
hands are still
soft, smooth.
It's equally
good for soft-
ening rough
elbows and
chapped knees
and for sheer
luxury, try it
as a body rub.
Toushay Lo-
tion, 50c at
drug stores.

• • •
LASSO BOOTS: A stormy weather
style with all the dash of a romantic
cowboy. Made of rubber, they're
cleverly fashioned to look like leather
range boots. Lasso boots come in dif-
ferent heel heights so that you can
wear them over your moccasin or sad-
dle oxford shoes; walking shoes, or

dressy high-
heeled day-
time shoes.
They'll slip on
and off with
the greatest
of ease, too. B.
F. Goodrich
Lasso Boots
are $3 at de-
partment
stores and
shoe shops.

She thinks the new colored-hose fad
is "horrible."

Her only collecting hobby is saving
stamps for her mother, she rides horse-
back very badly, and is frankly thrilled
at her glamour-girl status.

She smokes less than a pack of cig-
arettes a day and enjoys watching a
bullfight "because of the grace and tech-
nique involved in it." She takes Vitamin
B-l tablets regularly.

Her favorite fountain concoction is a
chocolate milk shake. She likes a fire-
place and flowers in her bedroom and
hopes to alternate her screen work with
dancing and dramatic roles.

CHE likes football and auto races.
^ She has never worn glasses other
than sunglasses, and considers "Music In
My Heart" her worst picture. Her par-
ents never called her by any pet name.
Her mouth is full and generous, her
golf is bad and she loves shooting gal-
leries where she demonstrates a more
than fair marksmanship. She has never
been accused of temperament.

She is a rabid movie fan, occasionally
goes bicycling, and admires the choreog-
raphy of Martha Graham and Mary
Wigman.

Rita Hayworth likes beer, scrubs her
teeth twice a day and is stubborn about
admitting a mistake, but she always
gives in. She is fond of all varieties of
cheese.

She has two Doberman pinschers, pre-
fers biographies and danced with her
father at the late Agua Caliente Hotel
where she was discovered by Hollywood.
She is superstitious about her birth date,
the seventeenth, because it figured in her
first contract with Fox Films and her test
for "Only Angels Have Wings."

She still has a pair of miniature casta-
nets which she used at the age of four
She likes trains, coffee and tea in mod-
eration, and clings affectionately to two
hats which she has had for four years
and which she wears occasionally.

She has no favorites among male
screen stars. She likes playing backgam-
mon and "Indications," and thoroughly
approves women's wearing slacks for
shopping or movies. She never fails to
derive special pleasure out of driving
along the bridle path on Beverly Hills'
Sunset Boulevard.

She played with girls in preference to
boys when she was a little girl. Her
favorite records are Strauss waltzes.

She likes wearing ribbons in her hair,
smoked salmon and earrings of plain gold
loops. Her ears are not pierced.

She gives away most of her wearing
apparel at the end of a season. Her com-
plexion is olive, she doesn't care for air
travel and her philosophy is a modified
fatalism.

She is adaptable and good-natured.
She does not go in for roller- or ice-
skating.

She never demurs at a quiet evening
at home.

She has never hostessed a large party,
spends her time between camera setups
worrying about the next scene, and be-
lieves that good taste is something one
is born with. Her favorite salad is chef >.
She has a habit of using every ash
tray in the house.

She is convinced this world is going
to be a tough place to live in for the
next fifty years.

Rita Hayworth hates to make plans.
She detests going on trips that have
been carefully planned and she has no
plans whatsoever regarding her profes-
sional future, regarding an eventual re-
tirement, or the possibility of having
children.

The End.

photoplay combined with movie mirroi

s <t

S^ti

de-to

■Be'

Yvef

SoeknG'fo Cupid

NEW YORK-TEXAS ROMANCE

Eugenia Loughlin's engagement to S. Cail
Borden Tennant of Houston (pictured together
at right) has stirred far-reaching interest.
This beautiful Pond's Bride-to-Be will he
married this winter, after her fiance com-
pletes his officer's training at Fort Riley.

HER STAR-SAPPHIRE
Engagement Ring.
The platinum and

baguette diamond
setting was designed
by her fiance. "I
guess Rorden and I
made over a hundred
sketches for it,"
she says.

Exquisite EUGENIA J. LOUGHLIN

She uses

Pond**

See how her SOFT-SMOOTH

Glamour Care will help your skin

1. Eugenia SLATHERS Pond's Cold Cream thick over
her lovely face and throat. Pats it on briskly with
quick little upward pats. This softens dirt and old
make-up. Then she tissues off the cream. "I adore the
cool, clean feel Pond's gives my face," she says.

2. Eugenia RINSES with lots more Pond's. Tissues off
the cream again.

This second time helps clean off every little smitch
of soil, leave her fine-textured skin flower-soft.

You'll love Eugenia's SOFT-SMOOTH Glamour Care
with Pond's Cold Cream.

Use it every night — and for daytime clean-ups.
See your skin look softer, smoother, prettier.
You'll know then why so many more women and girls
use Pond's than any other face cream at any price.
Buy a jar today — at any beauty counter. Five popular-
priced sizes. The most economical — the lovely big jars.

Send coupon for 5 POND'S Beauty Aids

1. Pond's SOFT-SMOOTH
Glamour Cold Cream

2. Vanishing Cream

3. New Dry Skin Cream

4. New Dreamflower
Face Powder (6 shades)

POND'S, Dept.8MM-CB. Clinton, Conn.
Send me samples of 5 Pond's Beaut)
Aids listed at left used by lovely en-
gaged girls and society beauties like Mrs.
Geraldine Spreckels and Mrs. Krne-t
du Pont, Jr. Enclosed is 10* to cover
your distribution expenses, including

5. Pond's "Lips" (5 shades) postage and packing.

Address.

(Offer good in U. S. only)

UARY, 1942

t>!J

(Continued from page 29) you change?'

"He said it very charmingly — but that,
in effect, was what he said. You can
imagine what I was tempted to say in
reply. But I suppressed the impulse. It
was so late by this time that either I
went out with him or I stayed home by
myself — which was no way to spend New
Year's Eve. I changed to something
simple, which he admired as much as
he had disliked the other. That made
everything all right, because I had de-
signed this one, too.

"I hadn't been with him a half-hour
before I decided I liked him. I hadn't
encountered anyone in Hollywood with
whom I had been able to talk so freely,
almost immediately. And he was a
magnificent dancer. From Ciro's, we
went on to another club, and we danced
and danced and danced. I had never
enjoyed dancing so much before.

"We didn't get home until nearly dawn.
And, at the door, when I told Oley what
a good time I had had, he said, 'I feel
that this should be a good omen for us —
our starting the New Year together.'

"After that, we dated and dated. We
talked with each other several times a
day on the telephone. However, both
of us were reluctant to become too se-
rious and we dated others despite the
fact that we knew we were headed for
each other. We went together two or
three times a week for three months.
Then one night we decided to get mar-
ried. Why wait?"

THEY were going to fly to Yuma that
■ night.

"But at the airport I suddenly thought
that I'd like my mother at my wedding.
After all, marriage was such a serious
step. Besides, it was a miserable night
for flying. But Oley was surprised at my
sudden indecision.

"He didn't try to persuade me. He
simply said, very grimly, 'I'm glad you've
shown your true colors. I wouldn't want
to marry a girl who doesn't know her
own mind — who isn't sure of her own
emotions.' After that he drove me home
in complete silence.

"For weeks after that, he wouldn't see
me. Once or twice we bumped into each
other at parties and he was friendly, but
nothing more. Once or twice, I've for-
gotten why, he sent me gardenias. He
didn't come around himself.

"I used to call him and tell him, in
detail, about my crush on So-and-So.

"My mother kept saying, 'Don't be so
cruel. Don't keep calling him like this,
reminding him of you. Make an end of
the whole thing.' I kept saying to my-
self, 'If you don't break with him now,
you never will.' Yet, somehow, I couldn't
bring myself to make that break.

"I couldn't understand why. As I
kept telling Oley, 'You're the only per-
son I can talk to, but I can never fall in
love with you.' I didn't realize that I
was in love with him all the time."

And how did she explain that blind
spot?

Gene smiled. "All my life, I had
dreamed that when I fell in love, it
would be with a divine-looking man — a
knight in shining armor. And Oley didn't
exactly fit the description of that dream-
man. Something else that confused me
was that Mother liked this other boy — I
won't mention his name — who was ter-
ribly good-looking. She felt that perhaps
he was the one for me. I tried to see
him through her eyes. I almost con-
vinced myself that I was falling in love
with him. When he asked me to marry
him, I said I'd give my answer after I

7(1

This Is How It Really Happened

went to New York and talked with my
father."

"Then, suddenly, it came over me, 'Oh,
no, this isn't it at all. This isn't love.
I realized suddenly that my mother and I
were two entirely different people. That
the boy who could have made her happy,
if she had been in my place, wasn't the
one for me. I knew that before I went
to New York to talk with my father. I
broke with the boy before I even left.

"When I saw my father, I told him, 'All
this stuff in the papers about my coming
East to ask your permission to marry is
strictly bunk. I'm not even in love.' He
asked, 'Well, then, why did you come
East?' I said, 'I simply had to get away —
to try to get a perspective on myself, to
try to decide what I want from life. I'm
all confused.'

"While I was in New York, I wrote
Oley a couple of letters. He didn't an-
swer them. Still, when I got back to
Hollywood, I swallowed my pride and
called him and asked him to take me
dancing. He said he was busy.

"THEN Pat Morison gave a cocktail

' party. I was invited and I happened
to know that Oley was invited, too. I
rigged myself all up, having visions of
our getting together at the party and,
afterward, spending the evening together
somewhere, dancing. And we did get
together at the party. Only he said, 'I'm
sorry we can't go dancing tonight. I
have a date I can't break. But I'll take
you to dinner.'

"He couldn't have done anything that
would have made me more determined
to win back his interest. I've found out
since that he was interested all along.
But he knew how to handle me."

Gene punctuated that last sentence
with another smile.

"Then I developed that horrible allergy
thing. My eyes were swollen, and my

Initially responsible for the Tierney-
Cassini marriage are Connie Moore
and agent-husband Johnny Maschio. It
was at their house Gene and Oley met

face was swollen, and they couldn't
seem to find out what was wrong with
me. I think the whole trouble was
nerves. I was still new to Hollywood —
which was completely different from any
other world I had ever known. I had
always led a more or less sheltered, in-
conspicuous life. And, until then, I had
been more or less inconspicuous in
Hollywood, just another hopeful begin-
ner.

"Suddenly, I was pushed into the
title role of a big Technicolor picture,
pitted against people who were expe-
rienced. My nerves simply went hay-
wire under the strain.

"You remember the rumors — that I
might never look normal again, never
make another picture. Only a very few
people subjected themselves to the ordeal
of coming to the hospital to see me. Oley
was one of them. No one else came as
often as he did. And he was so sweet,
every time he did come. I found myself
thinking, 'He must love me, to want to
see me, even like this.'

"Mother said, 'He's the only person who
calms you down.' I kept thinking about
that, too. Thinking: 'I must love him —
for him to have an effect on me that no
one else has.' Thinking: 'When he's with
me, I don't seem to need anyone else.
The two of us are complete.'

"Suddenly, the allergy thing subsided.
I was able to go back to work. Only
I had to have vitamin shots to keep
going. Oley would drive me to the
doctor. We saw each other every day.
Finally, we reached the point where we
became engaged. We planned to marry
on June twenty-eighth.

"I JNTIL then, my family had liked Oley.
^ And even then they didn't exactly
dislike him. 'Of course, you can marry
him,' my father said, 'only I expect him
to become a member of the Belle-Tier
Corporation.' He sent out a contract for
Oley to sign."

When Gene went on the stage, her
father and mother (whose name is Belle)
formed the Belle-Tier Corporation, for
the purpose of supervising the career of
their under-age daughter, serving as her
agents and protecting her earnings.

"Oley took one look at the contract,
and said, 'Darling, I love you very much
— but not enough to sign this." He would
be signing away his right as a husband
to have some say about where his wife
should live. If the head officers of the
corporation — namely, my father and
mother — decided I should live in New
York and work on the stage, he would be
powerless to intervene.

"To prove that he had no interest in
my earnings, past, present or future, he
had Bentley Ryan, a friend of mine and
my lawyer, draw up a legal document,
which he signed, not only renouncing all
rights to handle my money, but renounc-
ing all community property rights in case
of divorce. (Heaven forbid!)

"But that gesture of Oley's wasn't
enough for my family. My brother wrote
me: 'If you marry a Count — any Count —
I'll never speak to you again.' My
father made it plain that he wouldn't
give his consent to my marriage unless
Oley signed that contract.

"I had been having this battle with my
nerves, my career was like this" — she
made a wobbling motion with her hands
— "and now even my own family was
becoming difficult. Nothing was certain
except that Oley and I were in love. To
make that fact complete, we flew to
Yuma and were married June first."
{Continued on page 72)

photoplay combined with movie mirrof

How one Tragic Mistake can add
Years to your Face!

CERTAIN SHADES of powder act like the harsh, unflatter-
ing light in this picture. They accent every line— exaggerate
every tiny skin defect, and even the size of the pores— often
make a woman look years older than she actually is.

BUT THE RIGHT SHADE of face powder is as subtle in its
flattery as the perfect lighting in this picture. It subdues the
little faults of the skin— hides the lines and imperfections-
makes a woman look younger and more glamorous!

One Sure Way to Avoid This Mistake!

1\ T 7HENEVER I see a woman who is the

1 V V innocent victim of an unflattering
shade of face powder, I think: "What a
pity! She's adding tragic years to her
face, making herself look older than she
is— and so needlessly!"

\bur face powder should improve your
ppearance. It should flatter you, make
jyou look younger and lovelier. If the
■powder you use doesn't do these things
it is not a true cosmetic!

The whole secret is finding the exactly
shade of powder for you— the shade
.that gives your skin new glamor. And
aow you can! \es, now you can find your
*nost flattering shade of face powder—
without guesswork.

How fo find your Lucky Shade

Here's how: Send today for the 9 thrill-
ng new shades of Lady Esther Face
Powder. Try them all, one after another,
"ight on your own skin. Keep looking in

I BRUARY, 1942

your mirror— it will tell you when you've
found your Lucky Shade!

\bu see, my powder is different because
it's made differently! It's made a new
way— the first really new way in genera-
tions. It's blown and re-blown by TWIN
hurricanes until it's softer and finer by
far than any ordinary face powder. And

it goes on a new smoother way that
makes it cling hour after hour. "Ves, Lady
Esther Face Powder clings and flatters
you for 4 long hours or more!

Send for all 9 shades

Find your most flattering shade of Lady
Esther Powder. Just mail the coupon be-
low for the 9 new shades and try them
all. You'll know your Lucky Shade — it
makes your skin look younger, lovelier!

e^ad£_£^#&Z/ f

ACE POWDER

Lady Esther, (75)

7134 West 65 th Street, Chicago, III.

Send me your 9 new shades of face powder, also
a generous tube of 4-Purpose Face Cream. I en-
close IOC to cover cost of packing and mailing.

ADDRESS

CITY

STATE

If you live in Car

ada, write Lady Esther, Toronto, Ont.

(Continued from page 70) Immediately
after the wedding (by a justice of the
peace), they phoned Gene's father.

"Oley told him that he had signed away
all rights to my money. My father said,
'My blessings, my son." Afterward, how-
ever, he issued that famous statement to
the Press: 'Gene is just a misguided
child. She has been carried away by this
suave man of the world.' And the sob
stories began.

"The most spiteful one was written by
a woman I had never even seen, who
made it sound as if she knew me inti-
mately. She wondered how I could have
married a man named Oleg, she ques-
tioned his background and she intimated
that this was probably only the first of
several marriages for me. I couldn't rest
until I had looked up that woman.
People warned me against doing it — they
said, 'She'll only write worse things' —
but I wanted to know that she knew
exactly what I thought of her ... I'd
love to put her background against my
husband's.

"/^\LEY is no phony. He didn't give
^ himself the title of 'Count.' He
was born with it — a descendant of sev-
eral generations of Polish and Ukranian
nobility. His grandfather, Count Arthur
Cassini, was Russian Ambassador to the
United States. (Port Arthur, Texas, was
named in his honor.)

"Oley" was born Count Oleg Loiewski
Cassini de Capizucchi, in Paris, where his
father was then in the diplomatic service
of Imperial Russia. When Russia went
Red. the Cassinis — being White Russians
— found themselves a family without a
country. Switzerland gave them haven,
in Montreux. There Oleg's mother
opened a small dress shop. The venture
prospered and they moved to Italy,
where opportunity seemed to beckon.

Growing up, Oleg showed artistic tal-
ent. When he was twenty, his mother
sent him to Paris to study art. His
teacher said, "You have talent, but you
won't be a great artist until you have a
soul — ten or fifteen years from now."
Oleg couldn't afford to wait that long.
He decided he had better commercialize
his talent. He went back to Italy, started
sketching dress designs for his mother's
salon. Since the customers liked his
sketches, his mother sent him back to
Paris to study with Patou, the famous
French designer.

The family came to America five years
ago, to escape the European trend of
things. Oleg connected in New York
with Designer Jo Copeland, then came
on to Hollywood, where, for a year and
a half, he worked for Paramount. Now
he's working for himself — his first assign-
ment, just completed, being the creation
of the gowns in "Shanghai Gesture,"
starring Gene Tierney. And he has done
all right by his bride. In fact, he has
done sensationally.

So sensationally that Twentieth Cen-
tury-Fox has signed him to create the
gowns for Ginger Rogers, Rita Hay-
worth and their feminine co-stars in
the all-star "Tales of Manhattan." Three
other big assignments are to follow.

People have been commenting lately
that Gene has suddenly "grown up," be-
come a poised young sophisticate.

Gene said, "I can thank Oley for that.
I didn't know how to dress the part
until he came into my life. And, for
that matter, I didn't know how to act the
part. It's one thing to get all rigged up,
and another thing to carry it off. I gave
away all my dresses last week. From
now on, everything I wear off the screen
will be designed by my husband. And
I want people to know it."

Gene added, "Oley has been good for

U(>to-the-minute data on John Boles:
He retired voluntarily from films in
'38; won U.S. and South American fame
singing; now returns to the screen
in Monogram's "Road To Happiness"

me in so many ways. He has given me
confidence that I never had before. I
feel as if I am just beginning to live. My
life is complete at last."

And she wasn't thinking of the sen-
sational movie breaks she has had since
her marriage — in "Sundown," "Shanghai
Gesture" and now "Son Of Fury" (op-
posite Tyrone Power).

She commented, smiling, "Sometimes I
think he knows me better than I know
myself. The other day, for example, I
did something he didn't like — but he
found a marvelous way to tell me so.
'Don't ever do that again, Gene,' he said.
'You're such a wonderful person in my
mind — an ideal. I don't want anything
to shatter that. I don't want to believe
that the girl of my ideal could do a
thing like that.' If anything could per-
suade me of the error of my ways, that
could . . . And I'm getting pretty under-
standing myself. Last Sunday, for exam-
ple, he was burning some things out in
the back yard and the fire got a little
out of control. He was trying to beat it
out with a stick. I rushed out with a
pan of water — and that put it out. But
I didn't say, 'Why didn't you think of
that?' He was crestfallen enough that
he hadn't, without my rubbing it in.
And I know he appreciated my realizing
that."

THE newly weds have bought a small
' New England Colonial house, on two
acres of wooded ground, in Hidden Val-
ley, an offshoot of Coldwater Canyon.

"It was a find of finds," Gene said.
"We got it for only $10,000. We bought
it jointly. We're furnishing it on the
same cooperative basis. He's buying the
essential things, like stoves and refrig-
erators, and I'll supply the Early Amer-
ican touches."

Speaking of homes, there had recently
been a to-do in the newspapers about
the possible eviction of Gene's father
and mother from their home at Westport,
Connecticut, because of a foreclosed

mortgage. The mortgage-holder had been
awarded a judgment of $5004 against her
parents, "who told the court they were
attempting to refinance the debt." As if to
explain the Tierneys' difficulties, the
newspapers had taken pains to point out
that Gene's parents not only had opposed
her marriage but also had been unsuc-
cessful in seeking to enforce a contract
requiring the payment of twenty-five
per cent of her earnings to the family
corporation formed to handle her affairs.
All this had made Gene sound like a
daughter who was bitterly disinterested
in what happened to her parents — or
their home.

Gene's eyes flashed green fire again,
when she was reminded of that insinua-
tion in the public prints.

"It's true that I haven't seen my father
since my marriage, but that hasn't been
my fault," she said. "I've tried repeat-
edly to have him come to Hollywood and
meet my husband — pending the time
when our work would allow Oley and
me to go East. He has never met Oley,
you know.

"It was news to me, as much as it
was to the newspapers, that my father
and mother were in danger of losing
their home. And there was only one
reason why I didn't immediatelv satisfy
that $5,000 judgment myself. I didn't have
that much money in the bank.

"That's probably hard for people to
believe. But I've been getting my pay
checks, personally, only since last June —
when I signed this new contract. Since
then I've made a substantial payment on
our own house along with Oley, and
contracted for the remodeling of that
house and bought a fur coat. All of
which has kept me from saving very
much.

"Before last June all my earnings went
to the family corporation. My parents
received a generous percentage of every-
thing I earned. The remainder, over and
above my living expenses, was to be
kept for me until I was of age. When
I heard of my parents' difficulties, I was
stunned. I told my father to take enough
of my funds to save the house. He didn't
do so — I don't know why. I'm com-
pletely baffled by the whole business. I
can't understand why my parents should
be in such a position and I can't explain
why my father didn't take my sugges-
tion— unless it was a matter of pride
with him. A matter of turning over my
funds to me intact when I'm of age.

"I'll be of age after November nine-
teenth. If my funds are turned over to
me then and their house hasn't actually
been taken over yet, I'll pay off the
mortgage in its entirety."

But she still hadn't told why she wa>
so positive her marriage was going to
last.

"I'll tell you why," she said. "I can
compare our marriage to our house. Be-
fore we found this place, I looked at a
hundred houses. I liked some thing>
about one house and other things abou:
another house — but I still kept on look-
ing, because I didn't feel that I'd yet
found exactly the right house, the one I
could live in for keeps. When I found
this house, I knew that it was the one. I
didn't have to look any farther.

"Before I came to know Oley, I looked
over other men. I liked some things
about one, and other things about an-
other, and I'd rave about them — but I
didn't make a final choice of any of them,
because I didn't feel that I'd found the
one I could live with for keeps. But when
I came to know Oley, I had that same
sure feeling that I didn't have to look
any farther. I could be completely
happy with him."

The End.

photoplay combined with movie mirror

Hollywood— Beware
in 1942!

(.Continued jrom page 31)

Carole Lombard: ". . . her chart warns
of a health condition." All the world
knows that Carole has not been well this
year and she still has a trying period
to go through; nerves, illnesses difficult
to diagnose correctly and emotional dis-
turbances.

Ginger Rogers: "1941 is a good career
year for Ginger Rogers. Ginger is a very
i talented young lady and can rise to any
heights she desires. . . ."

She got the Academy Award for her
•work in "Kitty Foyle." Not bad, eh!

Cory Grant: "Money, prestige and ro-
mance." It looks like a double dose of
everything for Cary. He has earned
- money and prestige on his own account.
■ His romance with Barbara Hutton has
not detracted from his prestige and
money surely is in the pockets of each
of them.

Olivia de Havilland: "A year full of
activity for Olivia . . . honors . . . awards
. . . and financial success."

In "The Strawberry Blonde" she was a
wonderful surprise even to her severest
critics and the sincerity and simplicity
of her performance as the American
schoolteacher in "Hold Back The Dawn"
must surely bring her honor and finan-
cial success.

Bette Davis: "Her stars point to mar-
riage during 1941."

I don't have to go into detail about
that prediction. It happened New Year's
Eve. That's close enough to suit me.

Errol Flynn: "Beware, Errol, look out
for trouble through the opposite sex."

We won't mention any names, but it
seems there was a famous cafe battle and
Errol got stabbed by a lady with a fork.

". . . accidents, blackmail and di-
vorce. . . ."

Lili Damita, his wife, has just sued
him for divorce.

"Especially be on your guard, Errol,
from July, 1941, to January, 1942."

As this goes to press there is still
time for Errol to get in a jam so I hope
he stays on his guard.

Picture that proves a prophecy
made on the following page: Hedy
Lamarr has a dancing date with
Reginald Gardiner at the Mocambo

•'EBRUAHY, 1942

Fjfe

'See that woman? — I'd

swear she buys a different
laundry soap every week.

"Know how she buys? — She comes in and asks me,
'Which one's having a sale today?' So I tell her and out
she goes, pleased as Punch, with a bagful of
bargains. . . . And next week she's back again
— buying somebody else's soap."

"Some day she'll try Fels-Naptha Soap
and she'll be done with all that, ggj^
Instead of saving pennies here, » t IS" NAP T I
she'll save dollars at home
you wait and see."

Ooesrit this open
your eyes ?

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THAN THE NAPKIN THCV'P 8CEM BUYING

Hint to pretties:
Wendy Barrie, run-
ning partner of
George Sanders in
"The Gay Falcon,"
ties a brico scarf un-
der her chin, smiles
for the camera,
gives her public a
smart idea of what a
scarf does for a girl

Pronounce Modess to rhyme with "Oh Yes"

"As for Errol's career — unless he jeop-
ardizes it by his Martian (meaning under
the influence of Mars) activities, the year
brings him additional popularity."

"They Died With Their Boots On"
promises to be his biggest success since
"Captain Blood." We'll be "back in a
flash with a flash" about Errol's doings
for 1942.

Ann Sheridan: "1941 brings bewilder-
ing waves of good fortune but it also
brings unexpected waves of adversity.
However, the two seem to balance."

For a time it looked as though Ann's
differences with her studio might spell
the end of her brief career (adversity).

"August 1 begins a new and exciting
cycle for her professionally."

Her differences settled, it looks as
though Ann is now 'well on her way to
being established. Her romantic life?
Wait a few pages.

Deanno Durbin: ". . . Remember that
whatever happens, 1944 and 1945 see you
achieve far greater success than you
have had so far. You have excellent
judgment; be sure you use it."

Very good advice for Deanna to re-
member now, in the light of her trouble
with her studio and the fact that Uni-
versal holds her contract until 1943.

Hedy Lomarr: "November 9, 1941, be-
gins a new cycle favorable for publicity
and this period seems to bring her into
very beneficial contact with writers or
publishers."

By the time you read this you will
know whether this prediction is accurate
or not. It is too early for me to tell.

"As for love — January 1 to 4 sees the
beginning of a new love affair or the
revival of an old one."

There are and have been many re-
ports about Hedy and Reginald Gardiner
up to the time of her marriage to Gene
Markey and after her divorce from him.
Also she seems to play quite a game of
hide-and-seek with John Howard and
last January she resumed her friendship
with both of these men according to
the gossip columns and still sees them
both if rumor is to be trusted.

AND so with Hedy we leave 1941 and
spread out the astrological charts to
read what 1942 holds for the Hollywood
stars.

Stirling Hayden: Since there has been
so much speculation about Stirling Hay-
den, let's start off with a look at his chart.
Mars, planet of war and energy, is in

Stirling's fifth house, house of the movies,
and in Leo, sign of the actor, but it is
opposed to Venus, planet of love, and
Uranus, the planet that accounts for sud-
den and unexpected events and erratic
behavior. Therefore, when Stirling an-
nounced that he was getting out of the
movies, he meant just that. Strange as
it may seem, this good-looking boy
doesn't give a hang about the plaudits
of the public; in fact, he shrinks from
publicity and exploitation. It is my guess
that all the publicity about him and
Madeleine Carroll makes him even more
determined to get out of the public eye.

Stirling is best fitted for work behind
the scenes, whether it be in the movies
or with the Government. During 1942
Stirling appears to be doing work in
seclusion. It could very well be in the
Intelligence Department, with a branch
of radio, or it may be some secret mis-
sion. He has a keen inventive mind and
someday money will come to him through
invention or creative work. His chart
tells us that he is fitted to give rather
than to take orders.

Now let's see about the Madeleine Car-
roll angle. If the birth date I have is
correct, Stirling began to get restless and
dissatisfied along in May, 1941. In July
romance and love ran riot causing a ter-
rific emotional conflict. As for love in
1942, August or early September brings
him either a renewal of the love of July.
1941, or a new love and with it marriage.

Kathryn Grayson: She took matters
into her own hands and pranced off to
marry the man of her choice with com-
plete disregard for the powers that be
or her indebtedness to them. Now she
must watch out this year for conflict
and trouble between her and those in
authority and think well before she acts
She can rise to great heights and will re-
tain her popularity with the public; but
she should remember that the public
must see and hear her in order to appre-
ciate her and that it is the people behind
the scenes who can block or open up the
road to success.

During 1942, Kathryn, your luck and
your stars won't be pulling for you quite
so strongly as they were in 1941, so use
that alert brain of yours to control you:
impulsive nature and heed the advice of
your elders.

Robert Stack: I don't know anything
about Robert Stack except an astrolog-
ical chart on a piece of white paper, so
if I stick my neck out and into your

photoplay combined tuith movie mirror

private affairs, Robert, and cause you
any trouble, please forgive me.

Robert's chart shows him to be tem-
peramental, independent and much in-
clined to act first and think afterward.
He has a keen mind and a good memory
and his popularity will increase as he
grows older. He should be given serious
parts. His chart shows a stormy love
life and plenty of it.

Dynamic aspects are in his chart for
1942 which may interrupt his career in
September or October.

Joan Crawford: It looks as though
Joan Crawford has gone in for consid-
erable seclusion this past year and I have
an idea that she is going to spring a few
surprises come 1942.

July and August mark a favorable
period for a new venture. She appears
to break away from former activities and
to seek a new vehicle for self-expression.
This will be a particularly fine time
for her to sign a radio contract or begin
a radio program, concert work, perhaps
even opera. Don't let anyone fool you
about Joan's voice. She really has one.
Venus in Taurus proves it.

Joan is as full of surprises as a church
fair grab bag and she may pull out a
love affair or marriage which has thus
far escaped the press. Around February
20 romance rears its beautiful head again
and between February and early summer
there is a strong indication that she
will announce her marriage.

Great happiness comes to Joan through
children.

George Sanders: He has a remarkable
chart and at last he is really coming into
his own in spite of those who have thus
far kept him back. He has originality,
force, magnetism, sex appeal and brains
and could handle a three-way contract —
writing, acting and directing. Instead of
heavies and menaces he should play
swashbuckling romantics or sophisti-
cated romantic parts.

The next two years for George should
be super. His finances appear to boom
and though I seldom advise it, in his
case, after July, 1942, he can even afford
to take financial risks.

If unmarried now, George cannot
escape much longer if the woman with
whom he is in love is free; and sure as
fate he is in love according to every
indication in his chart. For George San-
ders from now into the fall of '42 will
be a very romantic period.

Judy Garland: The new year brings
even more success to her and anything
she starts the last week in May will
bring her happiness and good luck.

However, she must be on her guard
against people who may try to double-
cross her. Judy is idealistic and loyal to
a fault and this year she may suffer loss
through the opposite sex. This can refer
to business, friendship or love. So use
caution, Judy, in every decision you
make during 1942.

There is a bird looming in the dis-
tance and it looks as though the stork
may circle over the Garland -Rose home
in 1942 or early 1943.

Hedy Lamarr: From February 1 to
March 6, Hedy must be careful of acci-
dents, especially at the studio or on loca-
tion. After June long journeys are
favored for her, particularly a sea voy-
age. She may go to distant lands to
make a picture, as an entertainer or on
a friendly mission.

The stars indicate marriage or a thrill-
ing love affair in April or May and
money comes to her through marriage,
inheritance, partnership or business.

Errol Flynn: He has to beware of the
opposite sex; even more so than in 1941.
They spell bad news for you this year,
Errol, so if you haven't any caution of

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your own, hire ten people if necessary
to protect you. From the middle of Au-
gust through September you might in-
crease the ten to twenty and keep them
around you for the balance of the year.

From the end of May well into June
Errol is favored in his career and his
box-office appeal, for he has Jupiter
conjuncting his sun, an aspect which
occurs once every twelve years.

Myrna Loy: The month of May brings
a period of emotional strain to Myrna
Loy and she will probably have to keep
her chin up just as she has for the past
year and a half. The middle of June,
however, should put an end to Myrna's
domestic troubles.

June brings her unexpected benefits
both in career and finances and this will
be a wise time to sign contracts, papers
or to enter into a profitable partnership.

Myrna has managed to triumph over
her adverse aspects so far and if she
can carry on until June, her stars will
bring her her heart's desire.

Olivia de Havilland: She's another girl
who is coming under wonderful aspects
around June 10 for the remainder of
the year. Olivia's stars point to an award
either for 1942 or possibly in 1943 for
work begun this year. Now, Olivia scales
the heights. April 1 she comes under
Jupiterian vibrations which increase her
magnetism and give her a much stronger
appeal for men than she has had pre-
viously.

During March and April, Olivia, guard
against accidents and hasty decisions and
don't get temperamental.

Alice Faye: In February and March.
Alice Faye meets responsibilities which
cannot be sidestepped.

She must take care of her health and
wratch her finances, for this is a period
which, if not properly handled, can have
a far-reaching affect upon her career and
her life.

From May until the middle of June.
Alice, guard against accidents from fire.
electricity and water. Guard your health
and be more conservative in every way.

August 15 marks a good period for
Alice to resume her career if she heeds
all the foregoing advice.

Shirley Temple: 1942 appears to release
Shirley from the Mars tension which has
been obstructing her career for such a
long time. After her birthday in April
she comes under better aspects, but until
1943, radio, rather than motion pictures,
should be her medium.

Deanna Durbin: Even though her last
picture was a wow, she had better not
try to force any issues until July. 1943.
For no matter how far out she sticks
that pretty, well-rounded chin of hers
she can't win. Lie low, Deanna, go along
amicably until next year when the lucky
stars that put you where you are today
favor you again.

Bette Davis: You and I will all be
happy to realize that Bette's marriage
looks secure for 1942. She is under
splendid vibrations from Uranus this
year and her career continues to boom.
During the latter part of February and
early in March Bette must look out for
accidents and disagreements, for Mars
makes her hotheaded and hard to get
along with.

Nothing but a transit of Mars, the
warrior, Bette, so count one thousand
every time you're tempted to get riled.

NOW let's gaze into the future year
for some of Hollywood's famous
couples.

Stanwyck and Taylor: The charts of
these two blend as though the match had
been made in heaven instead of in Holly-
wood. This is one movie marriage that
shows every indication of enduring. Bob

photoplay combined with movie mirror

is practical and his practical side serves
to stabilize Barbara's high-strung, emo-
tional side. He is also romantic and
sympathetic. Every woman knows how
necessary this is to make marriage last.

In comparing their charts I find not
only congeniality and harmony but com-
plete understanding and as if this were
not enough the 1942 planets shower them
with wealth and success.

During 1942 Bob's career moves along
at the same even pace and he maintains
the prestige he has earned.

Barbara is coming under marvelous
vibrations. I believe she will win some
sort of an award this or next year.

This year the stars make up for some
of the dirty tricks they have played on
her in the past and bring her whatever
she most desires, whether it is recog-
nition for her work, a long-cherished
secret dream, or possibly a child, her
own or an adopted one.

Gable and Lombard: Last year I told
you all about Mr. and Mrs. Clark Gable
and how well suited they are in every
way. They still are — but I want to warn
Clark that due to the transiting Jupiter
in opposition to his radix Jupiter, Saturn
and Venus, he will be under bad aspects.
He must be as conventional as a country
schoolmarm during all of 1942 and espe-
cially during August. The heretofore
tolerant public will scowl and turn
thumbs down at Clark's slightest devia-
tion from the path of convention.

August and part of September are bad
for Carole also. Her chart indicates some
sort of whispering campaign affecting her
home started early and which, under the
bad aspects of August and September,
can turn into loud talk and black head-
lines if not checked in its infancy.
These aspects affect only Carole's home.
Her career prospers and brings her new
acclaim and her health, which has not
been too robust, should improve after
January.

Clark, be careful. You can lick your
stars, you know.

Cory Grant and Barbara Hutton: The
charts of these two indicate that they
could have been married last May. Any-
how, I'll wager that they came close to
it. If they were not married then, I
think they will marry between June
and January, 1943.

Ginger Rogers and George Mont-
gomery: Harmony in their charts, but
marriage would not work out. Ginger's
true love is her career and any and every
man she marries will have to play sec-
ond fiddle. It isn't any secret that there
comes a day when any man resents this
no matter how much he loves his wife.

Ginger's career is safe and sound, much
more so than her love life.

George Montgomery definitely should
not marry this year. Nineteen-forty-two
brings him honor and recognition and
money, but no lasting happiness if he
flouts the warnings of his stars and weds.
Ann Sheridon and George Brent: Both

Flash From Miss Garbo!

Believe it or not, we have suc-
ceeded in gathering some highly
confidential and most revealing
glimpses of this lady of silence
whom Bette Davis calls the
greatest actress in pictures.
Watch for the March issue.

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FEBRUARY, 1942

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of them have their Sun in Pisces. It
looks like a true love affair (no matter
what the recent gossip is) and it would
last anywhere but in Hollywood. Ac-
cording to their horoscopes it should
even outsmart Hollywood. Whether the
love affair lasts or not there should
always be a deep friendship.

June 10 to July 15 favors romance for
both and can very well lead them to
the altar or a justice of the peace, despite
their present reported break. Both are
also under good career aspects during
these months.

Ann must be careful of travel the
latter part of February and in March
and she must be cautious. Don't sign
any papers, Ann, without the advice of
at least two good lawyers.

George's health should improve after
his birthday in March.

Careful of finances in June, George,
money seems to go out faster than it
comes in. Around the middle of June
new ventures are very successful for
you, perhaps a picture, or marriage or
both.

Betty Grable and George Raft:I could
not get George Raft's authentic birth
year and I certainly would like to have
it, for I would like to untangle him for
myself and his public and find out just
what is his fatal charm for women.

According to the chart I drew up from
the date sent me, his career is favored if
he doesn't gum it up himseli. Someone
will try to separate George and his money
and may succeed in doing so. Inwardly
he will feel dissatisfied with everything
and be inclined to tell the world and
his employers about it.

Take off those dark glasses of gloom.
George Raft, and let the sun shine in.
This year Saturn makes you gloomy:
Uranus upsets your apple cart and the
strangest things may happen; and Mars
makes you sore at the whole cockeyed
world; but Jupiter will bring you good
luck if you will forget the other planets
and concentrate on him. Keep your
mouth shut and your eyes and ears open.

Betty Grable's chart shows strong
dominance of an older person, heavy
expenses and greater responsibility than
one of her age should carry.

She is very magnetic and has consid-
erable dramatic ability. Thus far her
gorgeous figure has blinded her follow-
ing to her talent.

The latter half of 1942 brings her near
the top in her profession. December 18.
1941, indicates the breaking up of old
conditions and begins a new cycle which
brings Betty happiness and benefit.

She will be under excellent vibrations
for marriage, for she has Jupiter Ln her
house of marriage this year. I doubt if
George Raft is the man because Bett> ''s
stars point to a new romance.

That's all, and remember this, all of
you who have read these words and may
be wondering about your own year ahead.
you can control your destiny by heeding
the advice and warning of your stars.
When Saturn, the red light, flashes, stop!
Stop dead and wait for the go sign from
Jupiter. When Mars, the warrior, warns
you not to scrap and argue, stay away
from people until the Mars transit moves
on. It only stays in one sign two months,
anyhow.

Just don't try to butt your head against
the fence of the stars. Wait until the
proper time and the gate will open of its
own accord.

Good luck to all of vou for 1942.

To the readers of Photoplay-Movie
Mirror: Your solar chart can be obtainec
by sending your birth date and one dollar
to Matilda Trotter, Bradford Woods.
Pennsylvania.

photoplay combined with movie mirrof

•

(Continued jrom page 38) Girl," he
worked as a sort of apprentice to each
of the production heads — learning about
picture-making from start to finish. His
"director fund"' is a sum set aside toward
a day when he will renounce acting and
try to get himself a director's job.

"Maybe that won't be easy to do, but
if it isn't, I'll have my 'fund' to live on
until I can get started," he explained.

Eddie said that another ten per cent
of his earnings goes into various forms
of life insurance, both endowment poli-
cies and ordinary life policies that can
be converted into annuities.

"I want to know my wife will be taken
care of if anything happens to me," he
said. "Seems to me too many fellows
don't care what happens to their families
after they themselves are dead."

The remaining ten per cent of Eddie's
salary saved goes into a fund he and
his wife call their "house fund." With
this they are going to build or buy a
house, but not until they have enough
10 make a good substantial cash payment.

Little June ("Half Pint" they call her
at Paramount) Preisser also saves twen-
ty-five per cent of her earnings, she
declared proudly. (This is in addition to
the fifty per cent automatically im-
pounded until she is twenty-one by the
State of California under the "Coogan
Law.")

"Besides," she added, "a girl likes to
be independent even though she does
finally find herself a husband to support
her!" (June is engaged to Gar Wood Jr.
and will probably be getting married
any day now.) She said she likes to
have ready cash on hand and so half
of her savings go right into the bank.

Will You Ever Be Rich?

She buys annuities with the other half.
"You know — so I'll have a steady in-
come when I become old and feeble, but
not a big sum of money which some
slicker might get away from me. You
know how impractical old ladies are. . . ."
She grinned that engaging Preisser grin.

ELLA NEAL declared she is saving
■- twenty per cent of her earnings which,
she insisted, proudly, "is pretty darn good
when you figure I've only been in pic-
tures a year and don't exactly make a
fortune!"

When Ella was given her Paramount
contract, her mother signed a release
guaranteeing not to claim any of her
earnings. Thus none of her salary is
impounded by the state, though she is
not yet twenty-one. Her savings include
payments on a small endowment insur-
ance policy, which her parents took out
for her some time ago in order to teach
her to save money, and bank accounts.
She said she wants, someday, to buy a
dress shop and design the clothes herself.

Phil Terry said he saves about twenty-
five per cent of what he makes and that
practically all of that goes into govern-
ment bonds.

"I'm patriotic, you see," he remarked.
And then, grinning, "Besides, government
bonds are a darn good investment!"

Betty Jaynes Rhodes (who in private
life is Mrs. Douglas McPhail and has a
small daughter) admitted she doesn't
save much of her money besides the
fifty per cent which is automatically im-
pounded by the state, since she is not
of age. She said, however, that she does
carry a small life insurance policy for
the baby and another for Douglas.

A BOUT this time, most of the group
*"* were called back to work, but they
left us with something to think about.
Was such practicality typical in this
fabulous Hollywood of ours, or was it
simply remarkable coincidence that all
in this sextette should handle their money
so carefully, while others trod the tra-
ditional path of extravagance? So we
interviewed a large group of Hollywood's
best known starlets — not the Mickey
Rooneys or the Judy Garlands, to whom
wealth and security are already definitely
assured, but those who have not yet
climbed quite so high and whose salaries
are not, therefore, quite so large.

There is Tim Holt who says, "Saving
is forgetting that you make as much
money as you do." Tim, as you know,
has a contract with RKO. He also has a
real business head on his shoulders. He
started out with nothing. He's been
working five years. During that five
years, he has acquired a wife, a baby,
a fifteen-acre ranch, a completely fur-
nished home on the Pacific Palisades,
five horses, a large amount of life insur-
ance and a small savings account.

He bought the ranch from a bank
whose officers he talked into selling with-
out the usual down payment — since he
didn't have any down payment. Now,
the establishment which is run by a man
who formerly worked for Tim's father,
Jack Holt, is practically paying for it-
self. To date, Tim figures it has cost him
about twenty-five per cent of his earn-
ings— which, he points out, weren't very
much at the beginning of his career.
Besides this, Tim has invested about
fifteen per cent of his income in life
insurance — the kind that later can be

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FEBRUARY, 1942 79

GIRLS!
OONT GIVE UP

IF YOU'VE GOT A
POOR COMPLEXION

Here's grand way that

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converted into annuities.

Now that his ranch is costing less and
less of his earnings, Tim is putting the
surplus into defense bonds. He keeps
only a small amount of cash in the bank.
"I think money should work for you,
rather than lie idle," he said.

Anne Shirley, also at RKO, says she
saves approximately fifteen per cent of
her salary, which is disposed of as fol-
lows: Ten per cent in government bonds,
bought for her baby daughter; five per
cent in life insurance which can be con-
verted into annuities later on if she
wishes. She uses another five per cent
of her income for payments on an an-
nuity she is buying for her mother. Anne
is, also, one of those sagacious movie stars
who puts away a certain sum each week
into an "income tax fund." Although in
private life she is Mrs. John Payne, she
and John keep their finances separate.

JOHN, who is Twentieth Century's whit-
est hope for 1942, admits he isn't too
practical in the handling of his money
and that budgets drive him crazy. So
he just does this: After all obligations
are taken care of, he saves the rest,
putting it into government bonds and
annuities. John doesn't believe in that
great American institution, the install-
ment plan; he pays cash for everything
and doesn't buy if he hasn't the cash.
He said he has never figured out the per-
centage of his salary saved, that he
just does the best he can — but never for-
gets to have fun while he goes along.

George Montgomery, handsome young
star at Twentieth Century-Fox, has or-
dered the studio Credit Union (a sort of
savings bank which pays good interest)
to withhold half of every pay check. With
the rest of his money, he supports him-
self and five relatives, which doesn't
leave him very much over, he told us.
However, he went home to Great Falls,
Montana, a while back and made down
payments on two ranches!

"Took every cent I had," he confided.
His agent was mad as hops. So now it is
in George's contract that he mustn't buy
any more ranches without his agent's
consent.

Lynn Bari, also at Twentieth Century,
may be very feminine and sex- appealing,
but she knows what financial matters are
all about, too. Lynn is a firm believer in
government bonds. She doesn't exactly
budget her earnings, but after all her bills
are paid and a sum set aside for payments
on income tax and on an annuity she is
buying which will give her $25 a week
for life after fifteen years, she puts any
cash left over in all kinds of bonds — de-
fense bonds, postal savings, United States
bonds, and so on. Roughly, she figures
that, with the annuity she is buying, she
is saving about thirty per cent of her
salary.

CAROLE LANDIS, another Fox star,
spends every Thursday evening go-
ing over her finances and keeps a record
of them down to the very last cent.
Ever since she has been earning any-
thing, she has saved twenty-five per
cent of what she makes — even back in
the days when that meant scrimping
plenty! At first, her savings simply went
into the bank — "sometimes a dollar at a
time," she says — but now • that she has
more money, it is handled this way: One
fifth of her savings allotment goes into
an endowment insurance policy with her
mother as the beneficiary; two fifths of
the allotment into government bonds and
two fifths into a fund she is setting aside
with which to buy a home for her mother,
herself and her five dogs! Carole sup-
ports her mother, and Mrs. Landis, in
turn, keeps house for Carole.

John Shelton, another of Twentieth
Century's white hopes, has his finances
figured out in still a different way. He
sets aside fifty per cent of his earnings
and puts every last cent of it into good
old California real estate — the safest in-
vestment in this man's world, he thinks.
He is buying two ranches — one in the
northern part of the state and one in
the south. The one up north is looked
after by a young graduate of California's
Davis Agricultural College on a per-
centage basis. It is stocked with cattle
and so far has paid for its upkeep and
part of the original investment.

And take Susanna Foster. Sue is
young, but ever since she has been work-
ing she has had the say as to what
should be done with her earnings — that
is, of course, besides the fifty per cent
which is automatically impounded by the
state until she becomes of age. Susanna
has dependents, too — her father, mother
and two sisters and it takes quite a little
to keep a family that size going. She is
also spending a goodly sum on music
lessons, not only for herself but for her
sisters, which costs money. But notwith-
standing all this, she regularly puts away
five per cent of every pay check. One
week, the money goes in the bank; the
next, into defense bonds. And so on.

"I like my eggs in several baskets."
she explained with a most grownup air.

Patricia Morison saves forty per cent
of her income and this forty per cent
is disposed of as follows: Twenty-five
per cent goes into her savings account:
five per cent into a life insurance policy
which has a good loan value for an emer-
gency and of which her mother is the
beneficiary; ten per cent into Paramount
stock.

NELL O'DAY, at Universal (you'll be
seeing her soon in "Stagecoach Buck-
aroo"), saves twenty per cent of her
salary and has ever since she's been
working. Of that amount, half goes into
the savings account; a fourth into pay-
ment on a life insurance policy benefiting
her mother, whom she supports, and a
fourth into government bonds.

"I like a good big savings account."
she confided. "I've been in the show
business long enough to appreciate what
it means to have cash on hand — and what
it means if you don't!"

She said she had only bought the life
insurance policy last year. "Before that.
I used to take little fliers in the stock
market," she said. "I thought I was very
clever in the world of finance, and I did
build my little capital into quite a sum.
And then — I lost it all at once! Sud-
denly, I realized that if anything should
happen to me, things would be pretty
hard for Mother. So I quit playing the
market and bought a 30-pay-life policy.
That means that it will be paid up in
thirty years and the cash value will be
practically as much as ,the net amount
of all premiums in the thirty years. In
the meantime, Mother is protected."

And so there you see what some
typical young Hollywood stars are doing
with their money. And you see, too, that
every one of them is preparing for that
sad, distant day when career must end.
They are young now. You might think
their heads would be turned by the suc-
cess that has come their way so spec-
tacularly and so fast. But that isn't the
case. At last, to our way of thinking,
no youngster is having his head turned
by success when he can so straight and
soberly look ahead toward that rainy day.
inevitable in the lives of most of us.
and say, "Well, I hope you're a long
way off from me. but anyway. I'll be
ready for you when you come!"
The End.

photoplay combined with movie mirror

The Truth about Stars'
Charities

(Continued from page 67) with charities,
incidents that, if names were published,
would be enough to damn some Holly-
wood figures forever.

For instance, some stars are fearful
snobs about their charities and some are
charity climbers, just like their society
sisters in other towns. And some stars
: are downright stingy, with two particular
stars, both male, standing out as tighter
than mucilage on a stamp.

The charities that attracted all the
snob stars were the British charities, so
terribly cricket, you know, and absolute-
ly plumey with lords, ladies and even
duchesses. It isn't as though a lot of
sincere people didn't start making
bundles for Britain, genuine souls like
Benita Hume Colman, Annabella, Pat
Paterson Boyer and many others. But
there were also some stars who had never
got on quite the right side of the Beverly
tracks who tried to make it by going all
out for Britain.

There was, or rather is, one in par-
ticular who, very American, is driving
all her sister Americans wacky by her
demands upon them. She decided one
night to call a star who heretofore had
been too minor for her to notice.

"I'm collecting for the British," said
Miss Climber. "What will you give me?"

"Nothing," said the lesser star.

"But you don't understand. This is
Miss Blank," said the star.

"I do understand," said the lesser star,
"and I still won't give unless you will
give an equal amount to my favorite
American charity."

The major star rang off indignantly.
Giving to starving Americans isn't chic
right now.

The two stars who get a gross of fish-
hooks with each pay check, to make sure
that not so much as a dime will slip
- away from them, work at two different
studios. The one is carefree as a lark
but has been desperately poor, has earned
everything he has by his own efforts and
thinks the other guy can do the same. He
won't give to anything and he is honest
enough to admit it.

The second star does a bit of camou-
flaging. He's the type who is fussy about
service in the studio cafe and then tucks
a nickel under the plate for the waitress,
whose weekly salary is 100 per cent less
than his. Hit him with a hard-luck story
and you get a lot of sympathy— and that's
all. His act is that his agent keeps him
broke, having him on a budget, you un-
derstand.

D UT now for some heartening anecdotes
u about Hollywood charities.

As far as the purely personal charities
go, some of them are, of course, so big
that there is no keeping them out of the
papers as the stars would prefer. In that
class were Cary Grant's gift of the $125,-
000 he earned from "The Philadelphia
Story"— half to the British Red Cross and
half to the American Red Cross— and
Edward G. Robinson's patriotic and beau-
tiful contribution of $150,000 to the USO.
Cary gives away most of his "extra"
checks. Checks he gets from broadcasts
he automatically turns over to China re-
lief. The $125,000 he is receiving from
Arsenic And Old Lace" he will never
see. That goes twenty-five per cent to
'jthe USO, twenty-five per cent to the
American Red Cross and fifty per cent
to British charities.

Rosalind Russell turns over not only
her broadcast checks but much time to
China Relief, as also do Myrna Loy, Gin-

jFEBRUARY, 1942

"In those days they called me
The Wreck of the Hesperus"

"Don't believe it. It's impossible. It can't be you, my good-looking friend.

Never!"

"You're nice and polite. But there I am, skinny, homely, and tired-
looking. Why, I even ..."

"Even what? Tell me more!"
"I got used to it! Thought it nor-
mal, until I was told I had a
Vitamin B Complex deficiency."
"That's over my head."
"It's a shortage of those amaz-
ing vitamins you find in their
natural form in fresh yeast.
So I bought a week's supply of
fleischmann's. Took two cakes
a day in nice cool tomato juice,
and pretty soon ..."

"My Cinderella girl! I get it. But
I don't get the tomato juice part."
"That's the new way to take
fleischmann's. Listen! Mash a
cake of fleischmann's in a dry
glass with a fork, add a little
tomato juice, stir till blended, fill
up the glass and drink. Divine!"

oil."'"""'

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fleischmann's, Bi, D, and G,
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oven; they go right into the bread.

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QftA. RIGHT/

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im:

ger Rogers, George Murphy and Alan
Marshall.

But did you ever hear about the
sorority that Barbara Stanwyck created,
founded and supports?

The way "Athena," the Stanwyck soro-
rity, started is a tale entirely character-
istic of Barbara Stanwyck, who loves to
pretend that she is very hard-boiled.
Stany herself has never told the story
and has harshly forbidden her publicity
agent's ever giving it out, but "Fearless"
came upon the yarn, completely authen-
ticated, from one of the girls who has
benefited from the star's largesse.

Like many another girl who has lacked
the privilege of higher education, this
particular miss felt very inferior about
never having gone to college. Stany her-
self had had to go to work so early that
she never even finished high school, and
meeting this particular lonely girl got
Mrs. Robert Taylor to thinking.

"Why do sororities have to be limited
to college girls?" she asked.

"Well, there's some in high schools and
junior colleges," said the girl, "but mostly
they are college stuff."

"What good are they?" asked Stany.

"Well, they give you a chance to meet
other girls, have social life, have, well,
fun and companionship."

"Could one be composed entirely of
working girls?"

"Oh, of course!"

"Do you know any good Greek names?"

"Well, there was Athena, the goddess of
wisdom."

"That's it," said Stany. "Athena, the
wise dame. You organize the club and
I'll back it — Athena, a sorority for work-
ing girls who never went to college."

That was how it started, several years
ago, and today in and about Hollywood
you will find many branches of "Athena"
and many adoring girls singing Barbara
Stanwyck's praises. The girls pay club
dues and try to make their individual
clubs self-supporting. It is a real sister-
hood, with all the members pledged to
help one another in sickness or heart-
breaks or job-hunting. "Athena" is be-
ginning to branch out into other states
and communities, but Barbara is a patron
star of all the branches and her wide-
open checkbook is always there.

Then do you know about Hedy La-
marr's sponsoring the "Nobody's Chil-
dren" program? It came about this way:
The little boy whose custody Hedy
has now finally been given came to her
through the agencies which were finding
homes for other youngsters via this radio
appeal. The program was nation-wide but
unsponsored. Radio time must be paid for
and finally, funds running short, it faced
going off the air. It was then that Hedy,
who isn't high-salaried, stepped forward
and backed the program for three solid

months. She sincerely wanted to help
more babies to find homes, not so much
for the kiddies themselves as that other
foster parents might discover the source
of happiness she had discovered through
Jimmy.

When it comes to actual money given
out and to personal time expended, Joan
Crawford wins all the charity crowns.
Joan supports two hospital beds in a
leading Los Angeles hospital, has one
specialist constantly on call for emerg-
ency cases that may be brought to her
attention. Over and beyond this clinic
Joan's personal benefactions are too many
even to list and it is doubtful if she her-
self could remember all of them. She
is forever setting somebody up in busi-
ness, or financing some romantic but poor
girl's wedding or providing some over-
worked boy with a vacation.

It was Loretta Young who provided
the Sisters of Charity with their auto-
mobile, and provided us with this tender
little anecdote. Two nuns called upon
her for a donation one afternoon and as
they were leaving with a four-figure
check safely tucked away, Loretta said
she would see them to their car.

The Sisters smiled gently. "We have
no car," they said.

Loretta gazed at them in bewilder-
ment. She lives in swanky Bel-Air. a
good five to ten miles from the nearest
bus line.

"How did you get here?" she asked.

"We walked," the nuns said.

Of course, they went away in the
immediately produced Young limousine
and before noon the next day a new
sedan was delivered to the convent.

ONE of the very nicest of Hollywood
stories concerns a star and the lady
he supports. Believe it or not, but it is
absolutely true that he has never met
her and wouldn't know her if he saw
her. But he did know her husband, who
was a small-salaried stock actor at the
studio where the star is under contract.

The stock actor was suddenly kille'i
in an automobile accident. Hollywood,
after the first rush of flowers, didn't pa;
much attention, since the fellow had bee
quite unimportant. But the star started
investigating, found the actor's wife wa;
an invalid and nearly penniless. He wrote
to the girl, discovered what a fine, brave
person she was and started providing
the comforts of a small, sunny apartment,
regular medical care and good food for
her. He has told her she can count on
these comforts' enduring indefinitely.

This is just another charity which can":
be publicized, since the simple, open-
hearted generosity of it would be mis-
understood by those to whom no gesture,
however fine, is ever disinterested.
The End

It's Oscar time in Hollywood! So don't miss —

Hedda Hopper's own Academy Dinner

served up in these pages next month — a feast of fun
with little tin Kewpies and onion bouquets for all in

MY OWN SUPER-SUPERLATIVE AWARDS
BY HEDDA HOPPER

March Photoplay-Movie Mirror

«2

photoplay combined with movie mirrosI

Close Ups and Long Shots

(Continued from page 4) career alto-
gether, because Artie Shaw, her husband,
wanted her to . . . but with "Ziegfeld
Girl" the Turner ambition was born . . .
and these evenings see less and less of
the gay Lana in the night clubs, more
and more of the serious Lana at home. . . .

But John Carroll! . . . John Carroll
happens to be Mr. Louis B. Mayer's par-
ticular enthusiasm . . . that same Mr.
Louis B. Mayer who understands stars
so thoroughly and sympathetically . . .
that same gentleman who maintains a
standard of good taste in production that
few studios can come within miles of
approaching . . . like all dominant peo-
ple Mr. Mayer can be stubborn on occa-
sion and John Carroll to him is the
irresistible force meeting the immovable
object ... in this case, a producer firmly
believing he has a star . . . and a swag-
gering devil-may-care who just can't be
bothered with doing the things you have
to do to be a star. . . .

It isn't alone that John Carroll refuses
to be seen with "the right people" ... or
do the "right things" . . . the big things
with Carroll is that he sasses directors, he
doesn't bother to learn lines until he gets
right on the set, he clowns his way
through things that he should be serious
about . . . repeatedly Carroll gets in a
picture and runs away with the notices
. . . but now, after three years on the
lordliest lot of them all, he is still right
at the starting gate. . . .

A ND, of course, Hollywood is ii

in an ab-
solute state about George Montgom-
ery's suddenly appearing as an escort
for Norma Shearer ... on account of
Georgie_was supposed to be escort and
leading man, on screen and off, to Ginger
Rogers . . . because there is nothing so
potent as "romance publicity" for a hand-
some young man. . . .

It is probably because George Sanders
simply will not give out with any
romance publicity or any publicity at all,
practically, that makes Hollywood casting
directors continue to ignore him. ... a
million women could tell them the dream
dynamite that one packs . . . but the cast-
ing boys will always fall for the lads that
the glamour girls of Cinema Corners
have put their stamps of approval on. . . .

Hollywood gossips now that Rise
Stevens has been put into "Rio Rita"
to replace Kathryn Grayson and nobody
expects that the Deanna Durbin quarrel
with Universal will be easily settled but
the way all eyes are watching Vaughn
Paul's first production for RKO is a
caution . . . and meanwhile nobody un-
derstands just what it is Joan Fontaine
wants in the way of roles . . . not after
she had to be practically shanghaied
into playing the exquisite part of the
girl in "This Above All" . . . and every-
body wishes he didn't know all those
stories about the Crosbys and wishes that
he didn't have to take sides . . . because
this is a story on which there are two
such definite sides . . . Bing's and Dixie's
. . . with four such sturdy little boys
mixed up in the middle of it. . . .

And if, in all this inner chatter of
1942, you hear small mention of those
names which, born in 1941, were called
"hot box-office" do not be surprised . . .
the old order has changed and the
youngsters have arrived and taken over
. . . and as 1942 goes on few and far
between will be the mature stars who
will be able to accomplish Ann Sothern's
triumph of coming back via the "Maisie"
B's to the glittery A ascendancy of a
"Lady Be Good" and "Panama Hattie."
The End

FEBRUARY, 1942

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photoplay combined unth movie mirror »

When G-Girls Get Together

(Continued from page 36) "What have I
got in common with that glamour puss?
She's probably bored with everything
but herself."

"Me like that 'Maisie!' " Hedy looked
her incredulity. "I'll bet she goes jitter-
bugging every night at the Palladium."

This good-natured "feud" continued.
From time to time other mutual friends
told Ann she'd like Hedy. Lily Mac-
Murray, who often told Hedy how much
she'd like Ann, invited them both to a
party. The room was filled with people.
The two girls just happened to sit down
on the same couch, at the same time.
So they started to talk. Five hours later
they were still talking. Lily finally had
to tell them it was time to go home.

HEDY told Ann about Jamesie. Ann
hung on every word concerning the
little boy who is at last Hedy's for keeps.
For the very first time since he was
taken out of her life, Ann found herself
talking about David. To Hedy she poured
the touching story of the lad she had
brought into her home, planned to adopt,
to give a brilliant future. Hedy under-
stood Ann's suffering when she spoke of
David's departure. Their mutual love
of children was the first binding link.
Since Lily MacMurray's party, there
hasn't been a week when Ann and Hedy
missed seeing each other. Sometimes it's
oftener, their studio work depending.
Soon after they met they discovered
their houses were exactly one block
apart, their street numbers exactly the
same. Every morning when she isn't
working, Hedy takes a walk with Jamesie.
If Ann is home, they stop by, awaken
her, sit at the foot of her bed and
"dish." Hedy rambles on for hours. Ann
just listens. Later on in the day, Ann,'
who hates telephoning, puts in a call for
Hedy. This time ^Ann talks. Hedy lis-
tens. They discuss the studio, scripts,
personal problems. Hedy is inclined to
hide away from people. Ann urges her
to get out and enjoy herself. When Ann
tries to plan every moment, Hedy begs
her to stop forcing. To live more for to-
day. So, in many respects, they find
themselves good for each other.

As a rule, when a married couple come
to the parting of the way, the wife goes
home to mother. Ann's mother, a con-
cert singer, was busy on a tour. So Ann

t went to Hedy's. Having a similar ex-

* perience recently, Hedy could appreciate
Ann's feelings. She determined to help

(: her get over it. It wasn't sympathy that
Ann needed. Hedy was intelligent enough
to know this would have been the wrong
procedure. So she tried other tactics.

"Annie darling, you look so forlorn,"
Hedy fondly poked fun at her. "You

| look just like Pluto!"

i* The ridiculous picture appealed to
Ann's sense of humor. She burst out
laughing. Right then and there the
name stuck. Later on Ann got even by

i referring to Hedy as "Vinegar Puss."

. This title too has now become a legend.
One of Ann's favorite stories on Hedy
concerns the time the studio called her
for night retakes.

"I was only supposed to work until
twelve," Ann tells it. At the same time
she doubles up laughing. "Hedy gave
me her front door key because she goes
to bed early. Well, it turned out that we
shot until after two. It was nearly three
when I very carefully unlocked the front
door. I took off my shoes and started
tiptoeing up the stairs as quietly as pos-
sible. The door to Hedy's room burst
open. There she stood at the top of the

■I stairs. Her arms were folded. She was

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rEBRUABY, 1942

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actually tapping her foot.

" 'Where have you been?' she de-
manded. 'I've been worried sick. You
said you'd be in by twelve. Look what
time it is. I've been calling hospitals
and police stations. I thought something
terrible had happened to you.'

"Hedy was obviously and sincerely
quite upset. But it was such a funny
picture, her standing there just like
my mother. I felt as though I were four-
teen again. I sat down on the stairs and
laughed until I cried. The madder Hedy
got, the funnier it seemed to me. Then
we started to talk. Hedy loves to eat all
the time — which isn't so good for either
of us. She went down to the refrigerator
and brought back cheese and cold meats.
We sat there talking until dawn."

kA OST Hollywood glamour girls fit into
»▼* a certain pattern. Their beauty se-
crets they guard like a Government
defense plan. While they give evidence
of loving each other to death, their pro-
fessional jealousy is forever lurking.

Ann and Hedy are two of the most
feminine women in Hollywood. They
are also two of the most dominant. Yet
they never clash. For one thing, they are
interested in things that women are sup-
posed to be interested in. They love good
music. Oftimes they spend hours pick-
ing out records. Hedy taught Ann some
of her favorite Viennese folksongs. Ann
is studying French. She uses Hedy for a
guinea pig.

Both girls love their home. Ann owns
hers. Hedy's is rented out to Franchot
Tone and his new bride. Hedy is collect-
ing antiques, china and brasses for a new
home she hopes to buy. When they
aren't poking about in the little shops
on Los Feliz Boulevard, they're over at
the Howard nursery picking out plants
for their gardens. Ann taught Hedy how
to knit and crochet. Hedy showed Ann
how to do needlepoint. Hedy loves
American slang. From Ann she has
learned when to say, "Oh Brother!"

Hedy hates to go shopping. She prac-
tically lives in slacks. Ann keeps after
her. She urges her to wear beautiful
gowns and jewels to enhance her beauty.
Ann is inclined to be extravagant. Hedy
is impractical. But she nearly swooned
when Ann paid two dollars and a half
for an imported lipstick. Hedy insisted
that Ann try her own special brand. Ann
loved it. Where could she buy one like
it? Hedy answered her: "I get them
at Wool worths!"

The same generosity that prevails in
this unusual Hollywood friendship asserts
itself when either girl is talking about
the other. Of Hedy, Ann is always en-
thusiastic.

"I've always been so busy working,"
Ann enthuses. "So I've had to sandwich
in my friends. This picture doesn't in-
clude a Hollywood glamour girl. There
isn't anything very old-shoe about them.
But Hedy is the antithesis of everything
you'd expect such a beautiful woman to
be. She's warm and unselfish. She's not
like a career girl at all. I really think
she'd be content to stay at home all the
time.

"Hedy has been through a lot in her
life. This makes her sympathetic. Un-
derstanding toward others. You don't
have to stand on ceremony. with her. She
herself is much too unpredictable. She
breaks dates. Or forgets to show up. At
the last moment she changes her mind.
But you never pay any attention to any
of this. You know she is your friend.
You accept her as she is.

"Hedy has a good insight to things.
She can see the ultimate results. This
influences me. I am inclined to worry
until the ultimate results actually appear.

Before I met her I imagined that Hedy
would be dull — beautiful but dull. I
supposed she'd spend hours in front of
her mirror. It takes her fifteen minutes
to shower, dress, put on lipstick and run
a comb through that mop of hair. We
go out for an entire day. She never
looks in that mirror once. When you
can say that about a gal — you know she
must be a pretty real person."

" A NN is much closer to being a haus-
*Mrau than she is a jitterbug," Hedy
tells you amusingly. "But, you know,
before I knew her I only used to see her
at the studio in those 'Maisie' clothes,
wearing all that junky jewelry. I im-
agined she must be that same kind of
person off the screen, which proves what
a convincing actress she is. I didn't real-
ize how beautiful and glamorous she was
until we met that night at Lily Mac-
Murray's party.

"Ann wasn't made to be a career
woman. (Here we go again!) In real
life she's anything but one. We wouldn't
be friends if she were. She probably
won't like this, but I think Ann has the
greatest maternal streak of any woman
I know. Ann is always worrying about
something. Or someone. Once I didn't
call her for three days. She called me
and really let me have it. I know it
wasn't because she wanted the attention.
Ann is the most unpossessive person at
all times. She was really worried about
me. Isn't she wonderful?

"Ann has the most amazing self-con-
trol. I don't know how she does it. I
get mad and there it goes! I yell and
get it all out of my system. So I for-
give more easily. Ann has a quiet way of
working things out. It takes her a long
time to get mad. But once she turns,
it isn't a whim of the moment. She stays
that way. You can depend on it. You
never have to pretend around Ann. You
can confide in her. You never have to
caution her.

"Ann and I are so different in tem-
perament. She is the typical American
girl — ambitious, friendly, always active.
I can't stand to make plans. Ann is al-
ways planning something. We both like
to laugh. Ann's sense of humor saves
many a situation. At the same time, she
gets so serious about things. When I
see her getting that sad look, I just have
to say, 'Now, Pluto, that isn't good for
you.'

"I really pay little attention to my ap-
pearance. I'm not interested in lots of
clothes. I seldom wear jewelry. I never
wear hats. One evening Ann came over
carrying a large sack. She explained
she had seen a hat that looked just like
me. Nothing would do, I must try it on
to please her. I appreciated her thought-
fulness and interest. So I put on the
hat.

" 'You see, Pluto,' I pointed out to
her, 'the hat looks just like a goose
sitting on my head.' And it did. So
she was content to let me send it back
"I've never had a friend who is as
genuine and natural. She is honest with
me. She allows me to be honest with
her. What more is there to hope for in
friendship? I know this sounds silly,
but I was quite lonely before I met Ann
I've had lots of disappointments. A great
many worries. So I stayed by myself
Too much I guess. Ann insists on shar-
ing her friends' burdens. So she made
mine seem lighter. She's made me want
to be with people again. I never ex-
pected to find this kind of friendship —
especially in an actress. But I guess
anything can happen in Hollywood."
Ain't it the truth!

The End

rHOTOPtAY combined with movie mirror

This Above All

(Continued jrom page 34) She knew that
she would meet him the next night; she
knew that somehow, for some reason, she
would always do whatever he asked
her to.

I T WAS raining, a cold, miserable
I drizzle, and the tea shops and cinemas
were full. There seemed to be no place
in Gosley for a man and his girl to go.
They waited miserably in a partially
sheltered doorway until the bus came
and climbed into it along with too many
other wet, cross people. They didn't find
out it was the wrong bus until they'd
gone several blocks and by then it was
too late to do anything but stay on until
they got to the crossroads where —
eventually— they could catch the right
one.

At the crossroads a timetable informed
them it would be fifteen minutes before
the bus could be expected — and it was
still raining and much colder. The only
shelter in sight was a gaunt corrugated
iron structure built over a partly cut-out
hayrick and they ran for it.
"I'm sorry," Clive said. "It's been a

:great evening. Crowded out of the tea
shops and cinemas — turned out of a bus."
Prue shivered, without answering, and
he said, "You're cold. Here — " He took
a whiskey flask from his pocket. The
unaccustomed spirits made her eyes

■water, but she felt warmer afterwards.

.The hay against which they leaned was

isoft and comfortable. Clive laid his hand
on hers.

"Don't start that!" she said sharply and
snatched her hand away.

"I'm not starting anything!" He was
angry, much angrier than she had been,
and she felt ashamed.

i "I'm sorry," she said. "Give — give me

I another drink of whiskey."

"You're so beautiful," he murmured
when she handed the bottle back. This
time she tucked her hand into the palm
of his, in wordless apology. He leaned
over and kissed her and her arms crept
around his neck, holding him close. The
whiskey flask slipped to the floor of the
rick, forgotten.

I EAFORD is a resort town on the south
*~ coast of England, with a boardwalk
and many ugly angular hotels and an
amusement pier where before the war
they used to have a concert party and
sell souvenirs and soft drinks and candy.
The pier was closed and the boardwalk
almost deserted the afternoon Clive and
Prue arrived there.
Prue had a seven-day leave from camp

' and she had wanted Clive to come with
her to meet her family at Walsham. But
he had wanted to come here and here
they were.

The station taxi deposited them at the
steps of the Grand Hotel and a porter
came rushing out to take their bags. On
their way into the lobby they met a

' woman in a traveling coat, followed by
two children, a nurse and another porter
with all the luggage he could carry. The

' woman stopped and stared after Prue,
who had walked past her with her face
averted.

Upstairs, Clive and Prue had two rooms
with a connecting door between, on the

!] ocean front. When Clive had washed
and exchanged his coat for a sweater he
came through the connecting door. Prue
[hadn't taken off her hat and coat. She

1was standing at the window, looking out
•over the Channel — toward Calais.

Clive stopped his cheerful whistling.
"Tired?" he asked.
Prue didn't turn around. Her voice

j FEBRUARY, 1942

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was unsteady. "I'm — all right, thanks."

"But what's the matter? You were
happy in the train — at the station."

"Nothing's the matter."

After a pause, he said, "Look here — if
you've suddenly changed your mind, say
so. If you've decided that it isn't right
for you, we can pack up and go in the
morning. You're free to do exactly what
you like."

"You wanted me to come here," Prue
said angrily. "Well, here I am — so please
stop asking me what I want to do! You're
the man . . . it's your job to take the
responsibility and decide."

"But what happened? Why'd you
change so since we were on the train?"

"I didn't realize what I was letting my-
self in for, that's all. I'm sorry."

"It's a pity you didn't find this out be-
fore," Clive said curtly.

Dinner in the huge, echoing dining hall
where only a few of the tables were oc-
cupied was a torture to both of them. On
the train Prue had taken off her uniform
and put on a dress. That, and her
changed attitude, made her seem like a
stranger to him. He remembered that
she was one of the rulers of England
and that he had been born and raised in
a Manchester slum. He made one more
effort, at the end of dinner.

"Let's go for a walk. I used to know
a little place at the back of the town.
It'll be more friendly there."

But it was time for the news on the
radio and Prue would not go.

"Can't we forget all that for one
night?" Clive pleaded. "Come on — we
can go along the beach and get some
fresh air."

"And bury our heads in the sand, like
ostriches?" Prue asked.

"Are you coming?"

"I can't understand you, Clive. Don't
you want to know what's happening?"

He lost all his patience. "It's not going
to end the war or make it longer if we
take a rest from that sickening radio,
is it?"

Prue set her chin obstinately. "It's
our job to listen — even when it's hard to
take. Go ahead and take your walk.
I'm staying."

When he returned, his face damp from
the sea air, he found her packing in her
own room. She had made up her mind,
she said; they'd take the one o'clock train
the next day.

I T MUST have been long after midnight
I when Prue awakened. Lying in her
bed, she could hear Clive's voice coming
through the thin wall from the next
room. Clive's voice, yet not his voice.
It was harsh, unnatural, somehow com-
manding.

"Come on, you fool! Come on! There
aren't any more! It's no good, I tell you!
Get out of it . . . it's no good! . . . ."

For perhaps two minutes she listened,
terrified, wanting to go in and wake him
but afraid to. Then the words died
away into unintelligible mumblings, fi-
nally stopped.

She was up and had her bath in the
damp cubicle down the hall before he
wakened the next morning. It was a
beautiful, sparkling morning and even
when her eyes fell on her packed bag,
she felt better. When she was back in
her room she heard Cliye's door open
and looked out to see him, bare legs in-
congruous under a short topcoat, going
down the hall toward the bath. Im-
pulsively, she hurried to finish her
dressing and went out.

Clive was at the breakfast table looking
sullen, when she returned with a package
under her arm. She dropped it into his
lap. "I did some shopping this morning
— for you. Open it."

Wonderingly, he snipped the strings
with his knife and pulled back the paper
to reveal a silk dressing gown.

"Prue!"

Suddenly shy, she said, "You looked so
funny walking down the passage in tha'
little shriveled-up coat and those ban
legs. ..."

Amazingly, they were laughing, great
gusts of laughter that blew away all of
last night's constraint and wretchedness

"I'm sorry about last night," Prue said.

"That's all right. I understand."

"No, you don't. The fact is, we ran
into my Aunt Iris."

"Your what?"

"Aunt Iris. The woman who was leav-
ing the hotel just as we came in. Oi
course she recognized me. Isn't it in
credible? Of all the places we could
pick! I knew she'd taken the children to
some place on the coast so they wouldn't
be bombed, but I didn't know where."

"It isn't in the least incredible," Clive
said. "It's the kind of thing that always
happens."

Prue picked up a fork and traced mus-
ing patterns on the tablecloth. "Funny-
how romantic a thing like this can be.'
she faltered, "when nobody knows about
it — then suddenly how — different — it all
seems when an aunt appears. . . ."

"Are you leaving just because of Aun"
Iris?"

"I . . . suppose so. . . ."

BUT, after all, she didn't leave. Instead,
they both moved to another hotel, tht
"friendlier" place Clive had mentionec
the night before. It was an old inn. no:
at all grand, but — friendly.

At lunch in the new inn, the fat pro-
prietor brought an envelope to thei:
table. "A telegram for you, Mr. Briggs
Sent over from the Grand."

Prue saw Clive's skin whiten, hi>
fingers fumble as he tore the envelopt
open. But there was relief in his face
as he read the message.

"Clive," she said gently, "what's wor-
rying you, darling?"

"Me? Why, nothing."

"You told me you slept very well?"

"I did. Why? What's the point?" He
was defensive.

"Nothing . . . Only I — I heard talking
in your room. As if you were having a
nightmare, a very special kind of night-
mare. And now this telegram." Sh<
waited, but he did not answer. "It's al.
right if you don't want to tell me, Clive
But I know there's something."

He tossed her the telegram. "That isn :
anything. Read it, if you like."

"Wangled forty-eight hours leave.
Coming down for binge. Monty," it
said.

"Who's Monty?"

"An old friend of mine. You'd like
him." He smiled suddenly and lifted tht
glass of excellent wine The Coach and
Four served with its lunches. "Let's for-
get Monty. I'm beginning to feel happ>
again and there's something I forgot t
tell you at breakfast."

"What?"

"You're very lovely. And it was very
sweet of you to give me that drt-
gown."

They were happy for the rest of that
day. But that night again, Prue wok(
up and heard his voice crying out in
terror and command. She got up. this
time, and went into his room to wake
him. She was shocked when she saw
his face in the moonlight streaming in
the window. It was wet with sweat,
twisted with anguish. She shook him by
the arm and he struggled up out of
sleep.

"You were calling out orders. . . ."

"It's nothing. I'm (Continued on page 90^

photoplay combined with movie mirror

"I love him because he don't know how to kiss-

Samuel Goldwyn, master producer,
scores again with a picture both heart-
warming and uproariously funny— the
story of a sedate professor who knew
all about dead languages and nothing
about live ladies until a night club
gal crashed his bachelor quarters and
rhumbaed right into his heart.

few j«#r

GARY COOPER • BARBARA STANWYCK

Directed by HOWARD HAWKS

Released through RKO Radio Pictures Inc.

Screen Play by CHARLES BRACKETT and BILLY WILDER

Hear Qene Krupa with his drums and his famous orchestra

'EBRUARY. 1942

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{Continued from page 88) all right. It's
just when I'm overtired, sometimes I talk
in my sleep."

"Clive . . . you were in the army?"

"Yes," he said painfully.

"Why didn't you tell me, Clive?"

"Why should I? I'm not of it now."

"Were you wounded?"

"No, I ... I was ill."

"Were you in France? What was it
like?"

"You won't be satisfied until I tell you,
will you?" he said savagely. "All right —
it was hell! Dirty, foul, disgusting. D'you
want any more?"

"No, not if you feel like that."

"How did you expect me to feel?"

"Proud. As proud as I am that you
were there. Because that's the one thing
about you I didn't understand. I knew
you weren't the kind of man to shirk."

He turned away, and she went back to
her own room.

KA ONTY— Corporal Montague— stamped
'"* in upon them the next morning as
they were having breakfast in Prue's
room. He was chunky, blunt and con-
siderably older than Clive, whom he
called Nipper. Prue told herself she
should resent the casual way in which he
accepted her presence with Clive, but he
was too disarmingly friendly. They went,
the three of them, to the cellars of the
Victoria Saloon, where a soldier played
the piano and the floor was crowded with
dancing soldiers and their girls. The
single waitress was swamped with orders,
so Clive left Prue and Monty at the table
while he went to the bar for their drinks.

"Sorry I crashed in on you and the
Nipper this morning," Monty said in em-
barrassment. "If I'd known you was
there I wouldn't have done it."

"That's all right. Were you and Clive
in . . . France together?"

Monty beamed. "I'll say we were!"

"Was he . . . was he a good soldier?"

"Was he — " Monty stared at her in-
credulously. "Listen here, Miss, let me
tell you something. If you'd seen him
coming up the road from Arras . . . com-
ing through hell as cool as a cucumber —
then going back next night and doing it
again — you wouldn't have to ask me if he
was a good soldier!"

"Monty!" They looked up. Clive was
standing over them, pale with fury.
"When you've won the war, give me a
call. I'll be at the bar."

"Now, Nipper!" Monty forced Clive into
a seat. "Don't be a silly chump."

"Well—" Clive said. "All right. But
we won't talk about the war."

"Right!" Monty agreed, and raised his
glass.

There was an air raid that night — Lea-
ford's first. It came near midnight, after
Prue and Clive had left Monty at his own
hotel and returned to The Coach and
Four. But they had not gone to sleep.

"Monty looked so worried when you
said good-by to him," Prue had said.
"And I noticed, earlier, the two of you
were leaning over the table, talking like
conspirators. What's the matter, Clive?"

Clive turned out the light and threw
aside the black-out draperies at the win-
dow. "Monty wanted to see me about a
friend of his, who joined the army the
day the war began. He believed that he
was going to fight for his country, but he
was bitterly deceived. He was ready to
fight and willing to die, if there was sense
and reason to it — but he found no reason
and no sense. He was ready to follow his
leaders and he found them stupid, com-
placent and out of date, with no claim to
leadership but birth and class and privi-
lege. They were not leading him in a
struggle for a better England — they were

asking him to help preserve the rotten,
worn-out conditions that had kept their
class in comfort and his in poverty.
They asked him to give his life for some-
thing he hated and despised."

There was silence. Prue was standing
near him, wraith-like in her negligee.
She said softly, "But doesn't he think —
this friend of Monty's — that this is no
time to doubt and argue, when his coun-
try's fighting for its life? To be beaten
in this war would be terrible!"

"That's what he's trying to see clearly,"
Clive answered. "He asks himself this
dreadful question: If England were to
lose, could we be worse off, or weaker,
or more shameful? He's told himself he
is fighting for England — but do you know
what England means to him? It means
poverty — hunger — begging for work, no
matter how cruel and humiliating. And
if our armies win this war — what share
will this man and millions like him have
in the victory? None — England will be
returned to the men who have owned it
and disgraced it, so that they can go on
disgracing it until the next war comes."

Prue almost whispered, "But what is —
this man — going to do, if he won't fight
any more for England?"

"Soon — very soon — tomorrow, perhaps
— they'll call him a . . . deserter . . .
They'll hunt him down — arrest him. . . ."

It was then they heard the first planes
coming over and the air-raid siren.
A horrid clicking smack, almost directly
overhead, told of bursting shrapnel from
Leaford's anti-aircraft batteries.

Prue clung to him, trying to still the
terrified leaping of her heart against the
solidity of his body. He led her away
from the window to the chair by the bed.
cradling her there in his lap like a child.

She cowered at another burst of shrap-
nel. "I'm afraid I'm not very brave."

"You are brave — and you're beautiful."

"You're saying that because there's a
raid on, to make me stop thinking."

"No. I've told you before, and I'll tell
you again, when it's over."

A bomb dropped near them then, with
a crunch and a crash. "There," he said.
"The closer it was the safer we're going
to be from now on. Two won't land in
the same spot."

SHE felt his courage flowing into her
and knew she could not have lived
through these minutes of terror without
him. When, at last, the "All Clear"
sounded, she went limp with utter weari-
ness and hardly knew when he picked
her up and laid her on the bed.

Toward dawn, in his own room, Clive
wrote a letter. "Dearest, I would no more
attempt to destroy what you believe than
I would tell a child that Father Christmas
did not exist. Where I am going, I don't
know, and I don't care. I'm tired. I
want to say how decent you were. I wish
I had been more decent to you. Good-by
— and our coming from the darkness into
the light of knowing each other was very,
very sweet. Yours, Clive."

He had dressed before he sat down to
write the letter. Now he stood up and
picked up his hat and coat and the letter
and went out into the hall. He would
leave the letter at the desk downstairs
and they would give it to her in the
morning, after he was gone.

A deserter from England's army walks
in loneliness and danger, every mail's
hand against him. And Clive is now a de-
serter, cut off from the girl he loves as
well as from his countrymen. Don't miss
the conclusion of this dramatic romance
in next month's PHOTOPLAY -MOVIE
MIRROR.

photoplay combined tcith movte mirror

Round-Up of Pace Setters

Continued from page 56) to Georgia,
■"here were no fine schools of drama to
id Evelyn in her desires, but persistent
ffort and faith in herself turned the
rick. So, you see, it can be done.

What's Sarong With This?

Philip (one 1, please) Reed has been
naking pictures since 1933, always fully
lothed and in his right mind. He was
landsome, young, talented. And so what
lappened? Well, practically nothing, as
ar as that goes. At least no presses were
topped, no worlds were set afire and no
ans stampeded. But, in 1941, Mr. Reed
r — removed his garments, donned a
arong for his role of the meanie in
Aloma Of The South Seas" and over-
ight became a sensation. Fortunately,
is acting more than outshone his appeal
d the feminine eye and Mr. Reed is
nally on his way with the pictures
Weekend For Three" and "Heliotrope
larry" behind him.

Mr. Reed is a charming gentleman of
everal accomplishments. Besides his act-
rig ability, he's the best tennis doubles
layer in Hollywood and so talented a
iolinist as to appear with Werner Jans-
en's symphonic orchestra. Furthermore
-get ready, girls — he's a bachelor, a tall,
lack-haired, brown-eyed eligible of
hirty-two. But hard to catch. He's set
i his ways. He says so himself.

From Erasmus High School in Brook-
yn, where he was born, Philip with his
ne "1" joined the Freshman class at Cor-
ell for one year. School dramatics, plus
is music, had decided him on his course,
le would be an actor.

From Cornell to Hoboken, New Jersey,
raveled our hero to join a stock com-
•any in which, to his utter amazement,
e found himself appearing in blackface
or a role in "The Green Goddess." Reed
without Mammy received ten bucks
weekly for his stint.

Along about then Philip decided to add
ancing to his congregation of abilities
nd began the art of tapping a mean toe
/ith a redheaded little teacher named
'agney — Jimmy Cagney.

Several stage plays, "Grand Hotel"
mong them, and a vaudeville tour with
he late Lilyan Tashman and Alma Ru-
<ens came before his advent into pic-
ures, which included such opuses as
Klondike Annie" with Mae West, "Ac-
ent On Youth" and a dozen or so others.

Back in New York in 1936, Philip (still
/ith his one "1") joined Tallulah (with
iree "l's") Bankhead in the stage play
Reflected Glory." Hollywood was in his
lood by then; he'd bought a house and
/as aching to get back. One year later
e thought better. He'd traveled to Eng-
and to make pictures, beheld the misty
noors of Scotland, viewed the lush green
■f an English countryside and, because
ie was one of the best tennis doubles in
England, he'd been entertained in the
iome of Sir James Whatever-his-name-
5 during the tournaments, tasting the se-
enity of English country life and sauted
:idneys for breakfast. Hollywood could
ever be his all-in-all again. And be-
ause he lessened his grip on it, Holly-
wood flounced after him like a shame-
ess hussy, making the name Philip Reed
ne to be reckoned with.

His last stage stint was a pip. He played
ll through the New York and now mem-
rable Chicago runs of "My Dear Chil-
dren," with John Barrymore.

He believes marriage should be made
nuch more difficult to achieve and di-
■orce easier. He doesn't go gadding
bout night clubs much and likes quiet

EBRUARY. 1942

. . . Returns from
forbidden land
to teil of strange
experiences.

DO THE DEAD RETURN?

A strange man in Los Angeles,
known as "The Voice of Two Worlds,"
tells of astonishing experiences in
far-off and mysterious Tibet, often
called the land of miracles by the few
travelers permitted to visit it. Here
he lived among the lamas, mystic
priests of the temple. "In your previ-
ous lifetime," a very old lama told
him, "you lived here, a lama in this
temple. You and I were boys together.
I lived on, but you died in youth, and
were reborn in England. I have been
expecting your return."

The young Englishman was amazed
as he looked around the temple where
he was believed to have lived and
died. It seemed uncannily familiar, he
appeared to know every nook and
corner of it, yet— at least in this life-
time— he had never been there be-
fore. And mysterious was the set of
circumstances that had brought him.
Could it be a case of reincarnation,
that strange belief of the East that
souls return to earth again and again,
living many lifetimes ?

Because of their belief that he had
formerly been a lama in the temple,
the lamas welcomed the young man
with open arms and taught him rare
mysteries and long-hidden practices,
closely guarded for three thousand
years by the sages, which have en-

abled many to perform amazing
feats. He says that the system often
leads to almost unbelievable improve-
ment in power of mind, can be used to
achieve brilliant business and profes-
sional success as well as great happi-
ness. The young man himself later
became a noted explorer and geogra-
pher, a successful publisher of maps
and atlases of the Far East, used
throughout the world.

"There is in all men a sleeping
giant of mindpower," he says. "When
awakened, it can make man capable
of surprising feats, from the prolong-
ing of youth to success in many other
worthy endeavors." The system is
said by many to promote improve-
ment in health; others tell of in-
creased bodily strength, courage and
poise.

"The time has come for this long-
hidden system to be disclosed to the
Western world," declares the author,
and offers to send his amazing 9,000-
word treatise — which reveals many
startling results — to sincere readers
of this publication, free of cost or ob-
ligation. For your free copy, address
the Institute of Mentalphysics, 213
South Hobart Blvd., Dept. 89-L, Los
Angeles, Calif. Readers are urged to
write promptly, as only a limited
number of the free treatises have
been printed.

coin

** I've L6ARNeo...use strong,
soft KceeNex as hankies ouring

COLDS, USE EACH TISSUE ONLY ONCE,
THEN OeSrROY. .. GERMS ANO ALL/

{from a letter by
L. A. S , Baltimore, Md.)

<—

.1 9l9cwciKeo.lu- ■

Smart Girl!

WHO WANTS TO FUMBLE

AROUND TRYING TO PULL A

TISSUE FROM AN OROINARY BOX?

with Kleenex \rs pull a tissue

ANO UP POPS ANOTHER /

(from a litter by E. M.. Stroud, Okla.)

lAYfAC*

(J * gy using fcceenex

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"O" As In Oh, Honey:

When two, eyes of blue come twinkli: _•
through, it's O'Driscoll and we'll have
you be knowing. No eyes in all Holly-
wood twinkle and laugh as do Martha s.
And why? She's been five years getti: a
a toehold in movies and that's not funnv.
She absolutely lost the best chance that
will come her way in a coon's age when
her studio could not lend her for the
lead in "Our Town" that made Martha
Scott famous. And is that something to
laugh about? The care of her family rests
almost entirely on her well-modeled
shoulders and would anyone grow gayer
than a gingerbread man over that?

Well, Martha would, which is why we.
everyone on the Paramount lot ar.d
just people everywhere love O'Drisco...

Martha, whose latest picture is "Mid-
night Angel," was thirteen when she left
Phoenix to come to Hollywood and try
her luck at movies. Since she'd been a
baby almost, Martha had been preparing
for the work she wanted to do, studyir.2
singing, dancing and dramatics. It wis
summer vacation, hot as blazes in Phoe-
nix, and Mrs. O'Driscoll agreed to bring
her daughter to the Coast just for the
summer. That was the year 1935 AD.
and Paramount studios had issued a call
for dancing girls. Martha answered the
call, giving her age as eighteen (and she
really looked it) and went to work in
the chorus lineup for "Collegiate." She
danced in Paramount's "Big Broadcast y.
1936." Universal saw her, signed her ar.d
practically dropped dead when Martha
told her real age — fourteen.

She didn't make history or pictures,
either, at Universal, but a huge scrap-
book packed from cover to cover reveals
her to be Universal's choice of the g ri
to pose for leg art, for bathing suits, for
new hair-dos and whatever came along

What finally did come along, of course,
was M-G-M and after Martha had grad-
uated from the Immaculate Heart Con- I
vent in Los Angeles and completed her
high-school career, she signed with the
Culver City studio. "The Secret Of Dr. I
Kildare" as a nurse, "Judge Hardy And
Son" as the bespectacled rich girl and I
"Forty Little Mothers" as a schoolgirl |
was the program there. Some splendid
radio work and several RKO pictures
were sandwiched in between and then
just five years later, when she really was
eighteen, Martha returned to her first
love, Paramount, where she's grabbeo I
off a rich plum in "Out Of The Frying
Pan" and a very rich one in DeMille':
big production, "Reap The Wild Winl

Out in the Valley she's bought a ho:n< I
for herself, her mother and the twi I
young brothers she adores. She has i I
unique plan for keeping her heart fre» I
from entanglements. She doesn't see :<x I
much of any one lad, lest she get int< I
romance heart-deep. And Martha isn"' I
ready for real romance as yet, thougi I
she has the Hollywood night-lifers guess, I
ing on her cheek-to-cheeking with Rich
aid Denning.

Her bowling team, composed of Para) I
mount workmen and facetiously cahei I
The Martha O'Driscoll Angels, adores hev I
When a member is absent, Martha pitchejJ
right in and bowls with them and, mori I
than that, she bowls them over with ha I
high scoring.

She saves half of everything she makejil
is a natural blonde and a natural, chaimiJ
ing, delightful person to know.

We know. We were there.
The End

PHOTOPLAY COII!'

• ' Wittl MOVIE MIFSOI

(Continued jrom page 45) years to be
honored guests at their luncheons, only
to be met with the well-known brush-off,
suddenly started phoning to inquire in
honeyed tones, "When am I going to at-
tend one of your nice luncheons?" This
bold stand of the Press Club gals is doing
plenty towards taking the starch out of
the stars. They've smoked out the
phonies for fair and everybody's having
a good laugh over it.

Although we're improving, we have a
long way to go yet. Only recently,
after the Browne-Bioff conviction, a
famous editor tried to canvas the im-
portant people of Hollywood for a round-
' robin editorial and the silence was so
• intense you could have heard an option
drop as far as Burbank. There wasn't
a quote in a carload. It was our chance
to speak up, but, as usual, through fear
we muffed it!

Hollywood's private opinion of certain
stars and their drawing power varies
widely from that of the public's — as wit-
ness the time an exhibitor printed a whole
raft of names which were poison at the
box office. On that list was Katharine Hep-
burn, who later made a liar out of the
gent in "The Philadelphia Story" (and
I think "Woman Of The Year," just com-
pleted, will be equally good). I don't
say that Katie didn't have to work very
hard to undo the bad impression she's
made, because she did, but she had what
it takes and justified Hollywood's faith
in her. The same exhibitor named Mar-
■ lene Dietrich and his timely criticism of
her got her down to some real acting.
Director Mitch Leisen tells me that in
"The Lady Is Willing" Marlene gives a
grand performance and one of the nicest

It's Hollywood's Private Opinion

compliments she's ever had was told to
me by Aline MacMahon, who's return-
ing to the screen in this one. Aline said
she'd expected to just skim through the
picture, but, after watching Marlene work
the first day, she took her script home
with her and worked half the night over
her own part. That, my friends, is praise!
There are many others in our town
whose talents are admired and re-
spected by their fellow players — Joseph
Schildkraut, Walter Huston, Montagu
Love, Marjorie Main, Spring Byington,
Edna May Oliver, all of whom turn in
consistently flawless performances. But
the public withholds its enthusiasm and
producers continue to bow to the box-
office bull (or is it the golden calf?).

AS FOR Hollywood's opinion of pic-
tures, we've guessed wrong so many
times you'd think by now that we'd just
keep our fingers crossed and let the fans
decide, but the industry's always been a
hog for punishment and every time we're
slapped down it's just a dare to get up
and try it again.

With all the brains and all the money
and all the talent and all the years of
experience behind us, we still can't tell
a hit from a flop until it comes up and
kicks us in the face. One of the
best and most recent examples of this
is the first film made by Abbott and
Costello, a lowly B that was beaten to-
gether for a mere $190,000. But once
released, its success was so sensational
that it emboldened Universal to row with
their sweet little money-maker, Deanna
Durbin. A year ago they'd have given
her the moon and no questions asked;
now they're talking back!

Hollywood's private opinion of divorce
has undergone a healthy change in the
past few years and our married couples
no longer hop into and out of double
harness with the old carefree abandon.
The Paulette Goddard-Charlie Chaplin
marital status has ceased even to lift the
lowliest eyebrow. It's just boring, no-
body cares and Paulette continues to
climb in popularity. Lana Turner's
lightning marriage and divorce we've
decided to overlook as a high-school
girl's prank but she'll do well not to re-
peat it, for it's much smarter these days
to be happily married with even a baby
or two (adopted or home grown) to your
credit. The question of divorce is now
gone into with much honest heart-search-
ing before the final decision. One recent
divorcee who escaped all censure is Lili
Damita. Even Errol Flynn admitted that
her request for alimony for herself and
baby was eminently fair and the fact
that Lili's still in love with the big good-
looking lug has won her sympathy on
all sides.

ANN SOTHERN'S decision to divorce
Roger Pryor has brought no reper-
cussions other than the regret of their
many mutual friends, because they're
both such swell eggs and so regular. I
think one of the main factors leading up
to their split was the reversal of their
monetary positions. No man wants to
feel that his wife is the superior earner.
It not only deflates his ego — it does
something to his manhood. He simply
must be the head of his own house.

Hollywood hasn't quite made up its
mind about all this rash of young
marriages that's broken out in the last

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year. When Deanna Durbin took the bit
in her teeth it seemed to inspire all the
other youngsters to follow suit. Metro
was in a fine lather when Judy Garland
announced she would marry Martha
Raye's (ex) David Rose and they prac-
tically swooned when their little nun-
like Kathryn Grayson, whom they'd
sheltered in their bosom for two years
and who was about to step into stardom,
eloped with John Shelton, a young man
who got his chance at the same studio.
On the other hand, Twentieth Century
was quick to see the advantage in the
joining of their star Sonja Henie to
millionaire Dan Topping, also Gene
Tierney to Count Oleg Cassini, and the
fact that Gene's parents acted up (as
parents usually do but shouldn't) not
only gave her even more publicity but
won her much local sympathy.

The end of the juvenile marriages is
not yet in sight. There's that certain look
in the eyes of Jackie Cooper and Bonita
Granville. Mickey Rooney seems un-
decided between a half-dozen young
lovelies and it looks as though Ann Ruth-
erford might soon step off with David
May (not of the films). Hollywood's re-
serving judgment until these romances
have been put to the test a bit longer.

I T was long Hollywood's private opinion
' that married couples had no right to be
teamed on the screen. They seemed tc
think that husband and wife in a picture
together would have no romantic appeal
for the public. But Jeanette MacDonald
didn't hold with this view and fought
like a tigress for Gene Raymond as her
lead. The success of "Smilin' Through'
has proved that she's right. Since then
we've had Joan Fontaine pleading to
play opposite her husband Brian Aherne
and I suppose, after the birth of her
baby, Alice Faye will insist that her lead-
ing man be Phil Harris.

Probably the most unique and mys-
terious of all Hollywood's private opinions
is the ruling on social standing and why
We still pick 'em mostly for their bank
accounts and spending capacity rather
than background and good manners, al-
though, since the war, any fourflushing
phony with a foreign title is welcomed
with open arms.

Recently the Santa Monica set found
out that the wife of a well-known star,
who'd been fawned upon as a Southern
aristocrat of azure blood, was in reality
the daughter of the village grocer and
got her money through a former marri-
age. She's a perfectly nice and very
pretty girl, with charming manners, bu!
if she'd been the original "Scarlet Wo
man"' with a large A tattooed on her
chest she couldn't have got a worse cold
shoulder. Considering the beginning-
of most of these social arbiters, such a
performance sounds a bit fantastic, until
you stop and figure it out. As my old
Granny used to say (of snobs), "Don't
be too hard on 'em, Elda. You know,
when you're not sure of yourself, you
have to be awful sure of the other
fellow!"

I had planned to finish this off with a
word about Hollywood parties, but, siiu
the war got under way, the word's gone
round to pipe down on any opulent dis-
play. Simplicity is the keynote and the
old, amiable orgies where people imbibed
freely, took down their back hair and
had themselves a heck of a good time
are a part of our dim past. The average
Hollywood party, these days, is so
genteel and so dull you can hear its
stays creaking. We've gone respectable
and conventional in a big way and our I
refinement has become so "supercolossa." |
that I wouldn't even bore you by telling |
about it.

PHOTOPLAY c<"mi>"»fM With MOVIE MIRROR >

(Continued from page 46) simple after he
got here — or had you already guessed?
So he got a job selling ties in a Los An-
geles men's store.

"Acting is selling, you know," he says
now, looking very sage about it all.
"And I'd had a lot of selling experience.
I'm glad I had for a lot of reasons."

He pulled up a knee, wrapped his
arms around it and proceeded to ex-
pound. He is, we might add, one of
Hollywood's most amusing expounders.
He warms so to a subject.

"Y'see," he said, "you have to like
people to do any of those things. You
have to really care about people. It's a
knack. And I guess I have it. That's
where the hitchhiking comes in. I
hitchhiked to Florida once and I found
out that it isn't so much picking up a
ride. It's hanging onto the ride. If you're
interested in the people who pick you
up — and get them to talk about them-
selves— they'll take you for miles and
miles. Otherwise, they put you down at
the next crossroads. 'Far as we go,
Buddy,' they say. People like to talk."

HE was pi jtty young when he took
the Florida jaunt and he hadn't the
ghost of a notion of what he wanted to
do when he arrived in Miami. The only
smitch of professional experience he
could boast was some dabbling in high-
school dramatics and some activity with
the high-school orchestra. He used this
store of knowledge to get himself a job
in a small night club and there he learned
what it was to have a real audience. A
paying audience. He went home that
spring with a little money in his pocket
and the sound of applause in his ears.

Bob Sterling — Next for Fame

We'll pick up a couple of threads just
here and then deliver Bob to Hollywood,
where he belongs. Home, as we said, was
New Castle, Pennsylvania. His father,
Walter S. Hart, had been a catcher for
the Chicago Cubs and had retired to
New Castle to manage a golf course.
When Bob returned from Florida, seeing
no jobs in the entertainment business at
the moment, he went on the road (to his
own surprise) selling automobile tires.
He liked that, too, because it entailed
meeting people. But they promoted him
to the credit department after a while
and that entailed a lot of arithmetic and
no selling. That's where he was moping
when they asked him to take a "vaca-
tion" without pay.

So-o-o, next thing he was in Holly-
wood, selling neckties. He kept pecking
away at the studios because that was
what he had come out to do. He can't
tell you, to this moment, how he knew
he wanted to act. He certainly had no
idea about how to go about it.

"Acting is pleasing people," he said,
helplessly. "Just as you do when you
sell them things. There's more to it than
that. It's being able to become somebody
you're not and to think like him and
look like him and . . . Well, I don't
have to tell you what acting is. I can't!
It's something you want to do or you
don't. I want to and I have to."

There was a pause and then he added,
"You still have to sell the customers a
bill of goods."

He spent those early evenings in
Hollywood in the public library, reading
plays, just in case something should come
up. He'd try to think how he would
read those lines and often he thought he

was pretty good. So when he read that
Columbia was looking for a likely lad
to play the lead in "Golden Boy" he
thought, "I can do that." Forthwith he
went out to Columbia to inform the
casting office of this interesting fact.
Someone inquired who his agent was
and when he said he hadn't one they
advised him to get one. But they gave
him a test, anyhow, and signed him to a
year's contract.

"Everything's all right," someone told
him. "You're going to play 'Golden Boy'
and then you'll be all set. But don't
tell anyone yet. We want to break the
news in all the papers at once."

So he read and reread the part. Re-
hearsed it in front of his mirror. Wore it
thin. And one day Bill Holden dropped
in to see him. "I know who's going to
play 'Golden Boy,' " he said, grinning.

"Oh — did they tell you?" Bob practi-
cally trilled this.

"Ye-ah. It's me. Isn't that sumpin'?"

It was, too. Nobody at the studio had
taken the trouble even to tell Bob that
the part had been given to someone else.
But his contract held for a time and he
began to learn about acting in the tiniest
of bit parts. "I wasn't good for anything
else," he says now. "But anyone who
had told me that then would have had
me to fight!"

HE selected an agent at last simply be-
cause he liked the looks erf the build-
ing which housed the agent's office on
the Sunset Strip. The agent took him
on. Believe us, it doesn't often happen
like that. Usually it's almost as difficult
to get an agent as it is to get a job in
pictures. Followed a fruitless trip to

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New York, a return to Hollywood, a
test or two and a couple of jobs in
things like "Gay Caballero" and "Yester-
day's Heroes," in case you remember.
Then Metro signed him and started
grooming him — which brings us right up
to Louis B. Mayer's party at Ciro's. And
right up to his role in the Garbo picture.

He fell in love with her, cf course.
Young players (older ones, too) nearly
always do. At the drop of less than a
hint he will rush into a recital of the
simply amazing facts that Garbo smiles —
even laughs — between shots. You gather
that he was flabbergasted to see her
actually eating a sandwich. He was
worshipful when she advised him about
his scenes and applauded him when she
thought he was good. He was completely
breathless about it all.

Ann Sothern cried one day, "Well, tell
us something! How does she look? How
is she dressed? How is she wearing her
hair? Tell!"

Bob was bemused. "She looks all
right," he reported, brilliantly. "Most of
the time she has on something shiny.
I guess it's white. She has a lot of
eyelashes. And her hair — well, it's sort
of curly and shoved up. That looks all
right, too."

Fashion editors, please note.

"But I'm not even going to wonder
whether I'm good in the picture — or even
whether I'll still be in it when it's re-
leased— until it is released," he said. "And
I'm not going to wonder about my next
part or worry about what they'll ask me
to do. I'm never going to worry about
or expect anything about anything." He
paused and then added, "At least, I hope
I won't. Maybe that's the most impor-
tant thing I've learned!"

Bob shared a bachelor apartment with
young Henry Willson, talent scout for the
Zeppo Marx agency, until a few months
ago when his father met with an acci-
dent which resulted in a painful leg
injury. This gave Bob an excuse to move
his family (father, mother and two sis-
ters) to Hollywood and install them in a
little house in Beverly. You're sure that
Bob was very sorry his father had met

with an accident. But there was a cer-
tain— er — satisfaction in his feeling about
"being at home," with his mother's cook-
ing and all.

"She makes gravy," he said. "And I'll
eat anything with gravy on it. Meat,
potatoes, vegetables. But she makes me
eat bales of salads. California," he added,
plaintively, "seems to grow an awful lot
of things which go into raw salads!"

Just as he finished his exciting chore
in the Garbo picture, he had his first
really tragic, really frightening personal
experience. His father suffered a heart
attack. A serious one.

"It's so awful — when you don't know
from hour to hour," Bob told me, that
first day he came to see me. "There's
something — cosmic about it, I guess.
Anyhow, I'm the man of the family for
the time being ... I'd better be good!"

And there was that sense of respon-
sibility, that first feeling of growing up.
Bob has packed a lot of experience into
a few years. Maybe Louis B. Mayer saw
a very young man maturing very fast
and making a good job of it.

His father is better now and Bob is
settling back to the job of f .ing his
niche, getting his bearings. Somo of it is
rough going.

C OR instance, he doesn't like to go to
' Ciro's very often. The photographers
inside and the autograph hounds outside
the place appall him. "I guess I just
haven't got used to it yet," he confessed.
"I know you have to be nice. It's part
of my job to be nice. And it isn't that
I'm shy, either. How could an ex-tire
salesman be shy? But something hap-
pens to me when they point those cam-
eras or when a lot of people swarm up
and ask for autographs. I get cold in-
side. I have a feeling that most of them
don't know who I am — that they're tak-
ing a chance on my being somebody — and
what am I going to say if one of them
asks me?"

Then, of course, there's the girl ques-
tion. There has to be a girl question
with anything as good-looking as Bob
Sterling running around Hollywood. He

This twosome — Bob Sterling and Gene Tierney — almost ended in
a united marriage front. After the romance was over, Gene
met — and married — Count Oleg Cassini (see story on page 28)

photoplay combined with movie mirror

finds it just a little bit puzzling.

He classifies girls roughly as "glamour
girls" and "outsiders." Don't be shocked
at the latter term. It merely means that
the girl is not in or trying to get into
pictures. The difficulty is that the
glamour girls want to be seen only in
certain places. Their movements are
pretty much curtailed. And they want
to talk shop incessantly. He thinks that
this constant harping on work gets bor-
ng — until he tries to spend an evening
jvith even the prettiest girl who doesn't
snow a thing about the inside of a
studio. Bob is pretty intense about his
job and wants to talk shop a little bit, he
iiscovers, after all. But the little out-
iider is consumed with curiosity about
Urn figures and imagines that he should
enow the "inside gossip" about every-
)ody. He doesn't and that, for some
:urious reason, embarrasses him. He feels
hat he's letting her down and they gen-
ially wind up the evening with a feei-
ng of mutual disappointment.

After he had confided these bewilder-
nents he said, worriedly, "Maybe I
houldn't have told you any of this. I
lave a feeling that when I fall for a girl
-and it might be any time, you know! —
t will be hard and final. And none of the
hings I've said will turn out to be true
-or to matter."

THE house where he lives with his
' father and mother (where he eats all
he gravy) has an upstairs suite which
s his own. A living room, dressing room,
>edroom and bath. "It just happened to
lave it," he explained, "and it's very
onvenient because I can play my radio
t queer hours without disturbing the
ithers. We were awfully lucky."

He's really good at golf. Plays in the
3w figures and is viewed with respect
>y experts. "I'll play in a tournament
i'hen I get time," he says, looking wor-
ied. "It might be fun, at that. I've
lever had time to play except around
he edges of other things I was doing."

His best friends are the aforementioned
lenry Willson and a young actor, Craig
itevens, who has just caused such a stir
iy his spectacular work in Warners'
Steel Against the Sky."

Then there is Muggs, the mongrel dog
yhom he acquired by accident at Coro-
lado. "A nice girl had found him and
aken the trouble to get him across the
»order and then her family wouldn't let
ler keep him. Can you imagine?" Bob
xplains. Then he tells you and tells you
nd tells you how wonderful Muggs is.
It's a difficult subject to change.

Next to Muggs — and gravy — he likes
lothes. Especially English tweeds and
oft suede jackets and gabardine slacks
nd shoes. He's a sucker for good shoes
jid confesses that he has never yet
■wned enough of them (with shoe trees)
o satisfy him. He just likes to see them
itting on a shelf, like rows of chorus
;irls or something.

He's nice and enthusiastic and unaf-
ected and you'd like him if you met him.
le hasn't quite analyzed that inner urge
hat makes him want to act. He hasn't
[uite analyzed what he means by acting.
ie thinks that he could have earned
nore money faster and more certainly
f he had chosen something else. But
cting chose him. Nothing in life could
hrill and excite him as much as that
>rocess of running through a script with

good director just before they start to
ehearse. He hasn't earned much money
'et and the crowds still frighten him.
Jut this is his world. This is where he
>elongs.

What he wants now is to "sell my bill
>f goods."

The End

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'EBRUARY, 1942

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(Continued from page 17) favorite novel
or play. Remember, for example, Leigh
in "G.W.T.W.," Fontaine in "Rebecca,"
Scott in "Our Town," Holden in "Golden
Boy," Ford in "So Ends Our Night" — and
how many others?

Carlson would be a great Oliver Wis-
well. He is a fine actor, and I can not
imagine anyone more perfect in appear-
ance for the role. All through the book
I saw him in those Eighteenth Century
costumes, fighting valiantly by word and
deed for the cause he thought was just.

Hollywood, how about giving a de-
serving young actor a real break?
Connie Parker,
Hollywood, Calif.

$1.00 PRIZE
New Year's Thought

THERE are no players whose work I,
' for one, enjoy more than the past-
seventy troupers, seasoned veterans like
C. Aubrey Smith, May Robson, Lionel
Barrymore, et al., and I should like to
pay this small tribute to them now at
the start of a new year. Let them be
reassured that in the floods of eulogy
for beauty and youth they are not for-
gotten. In almost any other business or
profession they'd have retired long since,
but old troupers, like old soldiers, never
die. We could not spare them.

D. W. Davies. M. D..
Vancouver, Canada

HONORABLE MENTION

XA/HY, with their whole careers before
" " them, is it necessary for movie ac-
tresses to emote before the cameras
when they're blessed-eventing? I have
been prompted to put this in writing
time and again, but with the most recent
and flagrantly offensive case in "Citizen
Kane," my patience finally came to an
end. Not only is Dorothy Comingore's
condition noticeable, but in a recent
movie magazine article Dorothy boasts
about the way she successfully (sez she)
fooled her admirers. That makes me
good and mad!

Jean Tigar Cohen,
Schenectady, N. Y.

GENTLEMEN:
I take my hat off to Harry Carey,
the top-notch artist in Western films. I

saw him in pictures some twenty to
twenty-five years ago. He was in a clasJ
by himself then, but now I am just goJ
ing to say, "that no matter how goo*
wine is, it will always improve w.th
age."

Keep it up, Carey old boy, and giwi
us old-timers someone to brag about
Fred W. Steinborn,
Brooklyn, N. Y.

COR "hevvin's" sake, won't somebody
' please stop our dramatic and roman-
tic screen actors from appearing on comk
radio shows? We feminine movie fans:
would like to keep a few of our illusions |
but how can we with Charles Boyej
singing the "Hut Sut Song" and Herber
Marshall cracking corny jokes with thV
"Mad Russian?"

These stars, who thrill us with theii
fine acting on the screen, merely suc-
ceed in making themselves appear ridicu-
lous by their antics on the comedy sho.vs
Rita Gage.
Buffalo. N. Y

A S a small fraction of the movie-go:n|
'* public, may I make a suggestion' I
Many good books and plays have bea!
transmitted through the medium of motj
tion pictures to a wider and appreciate
audience. Why can't this be done v. iu
operas?

With good singers, clever directior
beautiful scenery, plus the genius toucjl
of Hollywood, I know that this type tv
movie would meet popular approval. I
wouldn't be long before everyone in a))
the forty-eight states would be familiarlj
humming tunes from "La Bohemejj
"Faust," "Madame Butterfly" and othen
Lena Bonetti
Baltimore, Md

J DON'T understand Hollywood!
' producers are constantly searching
and experimenting with new talent, w
at their doorstep sits someone like CI
Trevor. She has beauty, talent and youl
She is capable of turning in as good
performance as the greatest of thefl
Yet she plays small roles when a I
qualified actress gets starring roles.
I think she is definitely great
material and a personality Hollywood ca
be proud of. Claire Trevor is a real lad,
and a great actress!

Emaleen E. Risk,
Hollywood. Calif.

First-rank supporter
of Miss Bonetti (see
letter above) is opera
star Rise Stevens of
"The Chocolate Sol-
dier." Check up on
the Stevens viewpoint
on page 54; then make
up your own mind

photoplay combiiiod trifh movif m:j»

Casts of Current Pictures

"BABES ON BROADWAY" — M -G-M.

Screen play bv Fred Finklehoffe and Elaine Ryan.
Original story bv Fred Finkiehoffe. Directed by-
Busby Berkeley. Cast: Tommy Williams, Mickey
Rooney; Penny Morris, Judy Garland: Miss Jones.
Fay Bainter; 'Barbara Jo, Virginia Weidler; Ray
Lambert, Ray McDonald; Morton Hammond.
Richard Quine; Mr. Stone. Donald Meek; Alex-
ander Woolhott. By Himself; -Vic-*, Luis Alberni;
Thornton Reed, Tames Gleason; Mrs. Williams,
Emma Dunn; Mr, Morris, Frederick Burton; In-
spector Moriaritx . Cliff Clark: Announcer. William
Post, Jr.

"BALL OF FIRE"— RKO Radio. Screen play
bv Charles Brackett and Billv Wilder. Directed
by Howard Hawks. Cast: Prof. Bertram Potts,
Gary Cooper; Suaarpuss O'Shea. Barbara Stan-
wyck; Prof. Gurkakoff. Oscar Homolka; Prof. Je-
rome, Henry Travels; Prof. Magenbruch, S. J.
Sakall; Prof. Robinson. Tully Marshall; Prof
Quintana, Leonid Kinskey; Prof. Oddly, Richard
Haydn; Prof. Peagram, Aubrey Mather; Garbage
Man. Allen Tenki'ns; Joe Lilac, Dana Andrews;
Duke Pastrami. Dan Duryea: Asthma Anderson,
Ralph Peters: Miss Bratia. Kathleen Howard;
Miss Tott.cn. Mary Field; Lawyer, Charles Lane;
McNeary, Charles Arnt; "Horseface". Alan Rhem.

"BLUES IN THE NIGHT"— Warners. Screen
plav by Robert Rossen. From a play by Edwin
Gilbert. Directed by Anatole Litvak. Cast:
Character. Priscilla Lane; Kay Grant, Betty Field;
Jigger Pine, Richard Whorf: Del Davis, Lloyd
Nolan; Leo Pozvell, Jack Carson; Brad Ames,
Wally Ford; Nickie Haroyan. Elia Kazan; Pete
Bossett, Peter Whitney; Peppi, Billy Halop; Sam
Parvas, Howard da Silva; Blonde. Joyce Compton;
Brakeman, Herbert Hey wood; Joe, George Lloyd;
Barney, Charles Wilson; Drunk. Matt McHugh;
A Barnstorming Band. Jimmy Lunceford and his
band; A Guy Heiser's Band. Will Osborne and his
band.

"CADET GIRL" — 20th Century-Fox. Screen
play by Stanley Rouh and H. W. Hanemann.
Original storv by Jack Andrews and Richard
English. Directed bv Ray McCarey. Cast: Gene
Baxter, Carole Landis; Tex Mallory, George Mont-
gomery; Bob Mallory, John Shepperd; Runt. Wil-
liam Tracy; Mary Moore. Janis Carter; Walton,
Robert Lowerv ; " Red, Basil Walker; Jimmy,
Charles Tanner,: Benny Burns, Chick Chandler;
Foo, Otto Han.

"CHOCOLATE SOLDIER. THE"— MG-M.
Screen play by Leonard Lee and Keith W inter.
Based on Ferenc Molnar's "The Guardsman."
Directed by Roy Del Ruth. Cast: Karl Lang,
Nelson Eddy; Maria Lanyi, Rise Stevens; Bernard
Fischer, Nigel Bruce; Madame Helene, Florence
Bates; Magda, Dorothy Gilmore; Liesel (maid).
Nydia Wes'tman; Anton. Max Barwyn; Klementor,
Charles Judels.

"CONFIRM OR DENY"— 20th Century-Fox.
Screen play by Jo Swerling. Based on the story
by Henry Wales and Samuel Fuller. Directed by
Archie Mayo. Cast: Mitch, Don Ameche; Jennifer
Carson, Joan Bennett; Albert Perkins. Roddy Mc-
Dowall; Captain Channing. John Loder; H. Cyrus
Sturtevant, Raymond Walburn; Jeff, Arthur
Shields; Mr. Hobbs, Eric Blore; Dorothy. Helene
Reynolds; William. Claude Allister; M. I. Girl.
Roseanne Murray; Johnny Dunne, Stuart Robert-
son; Dasy, Queenie Leonard; Elizabeth Harding,
lean Prescott"; Vpdyke, Alan Napier; Mr. Biudle,
Billv Bevan; Sir Titus Scott. Lumsden Hare;
Duffield. Dennis Hoey; Floorman, Leonard Carey.

"DESIGN FOR SCANDAL"— M-G-M. Orig-
inal screen play by Lionel Houser. Directed by
Norman Taurog. Cast: Judge Cornelia Porter,
Rosa'ind Russell; Jeff Sherman. Walter Pidgeon;
Judson M. Blair, Edward Arnold; Walter Cald-
well, Lee Bowman; Dotty, Jean Rogers; Adele
Blair. Mary Beth Hughes; Judge Graham, Guy
Kibbee; Jane, Barbara Jo Allen; Raoul, Leon
Belasco; Freddie. Bobby Larson; Wilton, Charles
Coleman; Northcott, Thurston Hall.

"GLAMOUR BOY" — Paramount. Original
screen play by Bradford Ropes and Val Burton.
Directed by Ted Tetzlaff. Cast: Tiny Barlow,
Jackie Cooper; Jean Winslow, Susanna Foster; A.
'J. Colder, Walter Abel; Billy Doran, Darryl Hick-
man; Brenda Lee, Ann Gillis; Georgie Clemons,
Jackie Seaile; Hank London, William Wright;
Helen Trent, Katherine Booth; Papa Doran, Wil-
liam Demarest.

"H. M. PULHAM ESQ."— M-G-M. Screen
play by Elizabeth Hill and King Vidor. From the
novel by John P. Marquand. Directed by King
Vidor. Cast: Marvin Myles, Hedy Lamarr; Harry
Pulham, Robert Young; Kay Motford, Ruth Hus-
sey; Mr. Pulham, Si.. Charles Coburn; Bill King,
Van Heflin; Mrs. Pulham. Fay Holden; Mary
Pulham, Bonita Granville: Mr. Bullard, Douglas
Wood; W alter Kaufman. Charles Halton; Rodnev
"Bo-Jo" Brown, Lief Erikson; Joe Bingham, Phil
Brown; Hugh (The Butler), David Clyde; Miss
Rollo, Sara Haden.

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"KATHLEEN"— MG-M. Screen play by Mary
C. .McCall Jr. Based on a story by Kay Van
Riper. Directed by Harold S. fiucquet. Cast:
Kathleen Davis, Shirley Temple; John Davis. Her-
bert Marshall; Dr. A. Martha Kent, Laraine Day;
Lorraine Bennett, Gail Patrick; Mr. Schoner,
Felix Bressart; Mrs. Farrell, Nella Walker; Dr.
Montague Foster, Lloyd Corrigan; Jarvis, Guy
Bell is; Policeman, Wade Boteler; Manager,
Charles Judels; Maid, Else Argal; Margaret,
Margaret Bert; Sign Poster, Joe Yule.

"KEEP 'EM PLYING"— Universal. Screen
play by True Boardman, Nat Perrin and John
Grant. Original story by
Directed by Arthur Lubin.
Bud Abbott; Hcathcliff,
Martha Raye; Barbara,

Carol Bruce; Craig Morrison, William Gargan;
Jinx Roberts, Dick Foran; Butch and Buddy.
Themselves; Jimmy, Charles Lang.

Edmond L. Hartmann.

Cast: Blackie Benson,

Lou Costello; Gloria,

Martha Raye; Linda.

"LOUISIANA PURCHASE" — Paramount.
Screen play by Jerome Chodorov and Joseph Fields.
Based on the musical comedy by Morrie Ryskind.
From a story by B. G. DeSylva. Directed by
Irving Cummings. Cast: Jim Taylor, Bob Hope;
Marina Von Duren, Vera Zorina; Senator Oliver
P. Loganberry, \rictor Moore; Madame Bordelaise,
Irene Bordoni; Beatrice, Dona Drake; Col. Davis
Sr., Raymond Walburn; Thug, Maxie Rosenbloom;
Davis Jr., Frank Albertson; Emmy-Lou, Phyllis
Ruth; Police Captain Whitfield, Donald MacBride.

"OBLIGING YOUNG LADY"— RKO-Radio.
Original story by Arthur T. Horman and Jerry
Cady. Screen play by Frank Ryan and Bert
Granet. Directed by Richard Wallace. Cast:
Bridget Potter, Joan Carroll; Red Reddy, Edmond
O'Brien; Linda Norton, Ruth Warrick; Charles
McGregor, Robert Smith; Space O'Shea, Eve
Arden; Prof. Gibney, Franklin Pangborn.

"ONE FOOT IN HEAVEN"— Warners. Screen
play by Casey Robinson. From the book by Hart-
zell Spence. Directed by Irving Rapper. Cast:
William Spence, Fredric March; Hope Morris
Spence, Martha Scott; Mrs. Lydia Sandow, Betilah
Bendi; Preston Thurston, Gene Lockhart; Eileen
Spence, Elisabeth Fraser; Elias Samson. Harry
Davenport; Mrs. Preston Thurston, Laura Hope
Crews; Clayton Potter, Grant Mitchell; Dr. John
Romer, Moroni Olsen; Hartzell Spence, Frankie
Thomas; Dr. Horrigan, Jerome Cowan; John E.
Morris, Ernest Cossart; Mrs. Morris, Nana
Bryant; Eileen Spence (as a girl), Carlotta Jelm;
Hartzell Spence (as a boy), Peter Caldwell; Fraser
Spence, Casey Johnson.

"PARIS CALLING" — Universal. Original
screen play by Benjamin Glazer and Charles S.
Kaufman. Original story collaboration by John S.
Toldy. Directed by Edwin L. Marin. Cast:
Marianne, Elizabeth Bergner; Nick, Randolph
Scott; Benoit, Basil Rathbone; Colette, Gale Son-
dergaard; Lance, Charles Arnt; Mouche. Eduardo
Cianelli; Mme. Jannetier, Elizabeth Risdon.

"PERFECT SNOB, THE"— Twentieth Century-
Fox. Original screen play by Lee Loeb and Harold
Buchman. Directed by Ray McCarey. Cast:
Dr. Mason, Charlie Ruggles: Martha Mason,
Charlotte Greenwood; Chris Mason, Lynn Bari;
Mike Lord, Cornel Wilde; Alex Moreno, Anthony
Quinn; Freddie Browning, Alan Mowbray; Nibsie
Nicholson, Chester Clute.

"PLAYMATES"— RKO-Radio. Original screen
play by James V. Kern. Directed by David Butler.
Cast: Kay Kyser, Himself; John Barrymore, Him-
self; Conchita del Toro, Lupe Velez: Grandma,
May Robson; Lulu Monahan, Patsy Kelly; Pete
Lindsey, Peter Lind Hayes; Pennypacker, George
Cleveland; and Kay Kyser's Band.

"RISE AND SHINE-— Twentieth Century-
Fox. Screen play by Herman J. Mankiewicz.
Based on the book, "My Life and Hard Times"
by James Thurber. Directed by Allan Dwan.
Cast: Boley, Jack Oakie; Jimmy McGonigle, George
Murphy; Louise Murray, Linda Darnell; Grandpa,
Walter Brennan; Seabiscuit, Milton Berle;
Menace, Sheldon Leonard; Professor Murray,
Donald Meek; .Vomc, Ruth Donnelly; Colonel
Bacon, Raymond Walburn; Coach Graham, Donald
Mi' Hride; Mrs. Murray. Emma Dunn; President,
Charles Waldron; Mrs. Robertson, Mildred Cover;
Butch, William Haade; GoGo, Dick Rich.

"SHADOW OF THE THIN MAN"— M-G-M.
Screen play by Irving Breeder and Harry Kurnitz.
From a story by Harry Kurnitz. Based upon the
characters created by Dashiell Hammett. Directed
by Maj. W. S. \*an DykeTI. Cast: Nick, William
Powell; Nora, Myrna Loy; Paul, Barry Nelson;
Molly, Donna Reed; Lieutenant Abrams, Sam
Levene; "Whitey" Barrow Alan Baxter; Major
Jason I. Scullcy, Henry O'Neill; Nick, Jr., Dickie
Hall; Claire Porter, Stella Adler; "Link" Stephens,
Loring Smith; Stella, Louise Beavers.

"SULLIVAN'S TRAVELS" — Paramount.
Screen play by Preston Sturges. Directed by Pres-
ton Sturges. Cast: John L. Sullivan, Joel McCrea:
The Girl, Veronica Lake; Mr. LeBrand (Head of
Studio), Robert Warwick; Mr. Jones. William
Demarest; Mr. Casalsis. Franklin Pangborn; Mr.
Hadrian, Porter Hall; Mr. Valdelle, Byron Foul-
ger; Pretty Secretary, Margaret Hayes: The Doc-
tor, Torben Meyer; Sullivan's Butler, Robert
Grieg; Sullivan's Valet, Eric Blore; Mr. Carson
(the sheriff), Al Bridge; Miz Zeffie, Esther How-
ard; Ursula, Almira Sessions; Tough Chauffeur.
Frank Moran; Old Bum, George Renevant.

"SWING IT, SOLDIER"— Universal. Original
screen play by Dorcas Cochran and Arthur V.
Jones. Directed by Harold Y'oung. Cast: Jerry
Trainor, Ken Murray; Pat Loring, Frances Lang-
ford; Evelyn Loring, Frances Langford; Brad,
Don Wilson; Maxwellton, Hanley Stafford;
Clementine, Susan Miller, and Brenda and Cobina,
Skinnay Ennis and his band; Kenny Stevens;
Senor Lee; Lew Valentine; and The Six Sweet-
hearts.

"TARZAN'S SECRET TREASURE"— M-G-M.
Original screen play by Myles Connolly and Paul
Gangelin. Based upon the characters created by
Edgar Rice Burroughs. Directed by Richard Thorpe.
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O'Sullivan; Boy, John Sheffield; Professor Elliott,
Reginald Owen; O'Doul, Barry Fitzgerald; Med-
ford, Tom Conway; Vandermeer, Philip Dorn.

"TEXAS" — Columbia. Screen play by Horace
McCoy, Lewis Meltzer and Michael Blankfort.
Story by Michael Blankfort and Lewis Meltzer.
Directed by George Marshall. Cast: Dan Thomas,
William Holden; Tod Ramsey, Glenn Ford; "Mike''
King, Claire Trevor; Windy Miller, George Ban-
croft; Doc Thorpe, Edgar Buchanan; Sheriff, Don
Beddoe; Tennessee, Andrew Tombes; Matt Lashan,
Addison Richards; Comstock. Edmund MacDonald.

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and Aeneas MacKenzie. Directed by Raoul Walsh.
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Aithur Kennedy; California Joe. Charley Grape-
win; Samuel Bacon, Esq., Gene Lockhart; Crazy
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hugh Lee, Regis Toomey; Callie, Hattie McDaniel:
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(Continued from page 60) slipped out of
her hand for a time, she didn't have the
money to go back. And finally, after she
was definitely established at RKO, they
worked her like a steam shovel. So much
so that when, after many cancelled New
York vacations, someone tried to com-
miserate- with her, she got off her now
classic crack:

"Oh, but I am getting a vacation, hadn't
you heard? They let me sit down now
between scenes!"

Under the department of Lowest Mo-
ments, Lucille says: "Mine was the day
Mother, Fred and Dad (as she calls her
grandfather) came to live with me out
here. Sounds inhospitable, doesn't it?
But you see, I'd just been fired and we
were all supposed to live on the fruits of
my first contract. As soon as Columbia
had given it to me, I had wired for the
family. But the studio closed down its
stock company and we were all out —
Ann Sothern, Gene Raymond, a bunch
of us. I had to go and borrow some
money before I could meet the family
at the train."

Luckily RKO decided to put on "Rob-
erta" with a promising new dance team,
Fred Astaire and Ginger Rogers, and
Lucille bagged herself a bit as a dress
model, her Hattie Carnegie technique
making her a natural. This resulted in
her first RKO contract — "Fifty bucks a
week," she will tell you without batting
one lush eyelash.

The RKO ladder hasn't been a dizzy-
ing one in point of speed. It took a lot
of pictures to win her her first good
comedy break in "That Girl From Paris"
in which she got a chance to take a
couple of high kicks winding up in a
split, all done by the aid of soaped shoes.
Came "Stage Door" and a few more well-
timed sock lines and presently — if you
could call two years later "presently" —
"Dance, Girls, Dance." Unquestionably
the role of the burlesque queen in that
picture has been Lucille's best to date,
though there is much bating of breath
around the lot these days over the pic-
ture they whisper will make her a full-
blown star, "Passage From Bordeaux,"
the film on which William L. Shirer of
"Berlin Diary" fame is acting as technical
director. Meantime she's doing very all
right in "Valley Of The Sun."

DUT Lucille wouldn't tell you that
■^ "Dance, Girls, Dance" or "Valley Of
The Sun" or even "Passage From Bor-
deaux" was her greatest break. Because
it was on "Too Many Girls" that she met
Desi Arnaz. And a rare meeting it was.
They had their first look at each other
in the studio commissary and the mo-
ment was one of instant and mutual
dislike.

Asked if Lucille considers herself a
hunch girl, one of those creatures who
has an infallible first impression of her
fellow man, Lucille says, "I should say
not! Look at Desi. I did just that — gave
him a look — just one good long one —
and said to myself, 'Am I normal or can
this really be the Cuban sensation that
has knocked New York night life out
of its floor show seats?"

In all justice Desi was looking like
anything but a glamour boy at the mo-
ment. He was dirty and perspiring in a
greasy old leather jacket. The immac-
ulate ebony hair comb was aimed in all
directions. In fact, Desi had been re-
hearsing some football tricks for "Too
Many Girls."

On the other hand, Desi matches Lu-
cille for off-the-beam first impressions.
He took one look at her as she breezed

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101

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into the room in «n evening gown, bur-
lesque style, with a white fox coat to the
ankles in the best Broadway bad taste,
her hair a mess, her face scratched up
with one eye prominently blacked — a
too perfect make-up job — and said "Ca-
ramba!" or its Havana equivalent. Lu-
cille, you see, had been staging her
battle with Maureen O'Hara in "Dance,
Girls, Dance."

Three hours later, bathed and groomed,
they met on the steps of the RKO Little
Theater where George Abbott had issued
a call for the cast of the picture in
which they both were to be. Desi, look-
ing every inch the Latin Launcelot,
flashed a smile at the apparition of
preaches and cream and gold. "Haven't
we met somewhere?"

CROM that point they continued to
' meet with ever-increasing frequency.
The picture was finished. Desi was
scheduled to go back to New York for
personal appearances and a winter's job
at Miami. Lucille was tied down with
picture commitments. They knew they
wouldn't see each other for a year.
Miserably they pulled up at a drive-in
stand one night and tried to comfort
each other by recounting all the reasons
that a marriage between them simply
wouldn't work.

So Desi left for Manhattan and Lucille
was sent out by the studio on a personal
appearance tour. Then the wires began
to hum. More specifically, they began
to explode. Desi was distinctly unhappy
with Lucille so far away from him. At
length George Schaefer, head of RKO,
picked up his Cupid's bow and arrow
and the long distance phone and called
Lucille where she was playing in Mil-
waukee. "Why don't you take a run
down to New York," he suggested. Just
as if he didn't know Desi was appearing
at the Roxy Theater there!

The result was a morning dash by
Lucille and Desi to Greenwich, Con-
necticut, and a marriage license. There
was no time to get a regular wedding
ring, so Desi tore into a Woolworth's
and bought his beautiful bride a ten
cent ring. Lucille wears it to this day,
along with the stunning square-cut dia-
mond band he gave her on their second
honeymoon. Oh, yes, they're having a
series of honeymoons because each one
has been interrupted prematurely, ac-
cording to their notion of time. They've
had five so far and they seem in a fair
way to be celebrating a permanent one
on their new North Ridge ranch in San
Fernando Valley.

THE house is California ranch style and
' they chose it because the five acres
on which it stands were virtually un-
planted, even to the swimming pool, now
a dream come true. This gave them an
opportunity to leave the stamp of the
Arnaz personalities in developing the
flora and fauna. Regarding the latter,
three canines have figured prominently,
the Duke of North Ridge, Pinto the Great
and Sir Thomas of Chatsworth (the name
of the street on which they live) . Then

one night what might be called an alley I |
cat, except that a cat would have to go a
mighty long way to see an alley in th se '
parts, barged into the menage and, '
promptly became the Duchess of DevonJ
shire, to be augmented later by Queer. ie.
another peregrinating feline.

Prize poultry has been installed, a
hundred or more birds, and the Arr.az
breakfast table now sees its own hon.e-
grown eggs at a mere twenty cenu i
crack.

As for the flora, Desi and Lucrlk
planned to kill two birds with one rock, j
by giving a housewarming consisting i
tree party (each guest brings a tree) ifl- i
honor of the dogs. But tragedy struck}; |
The Duke of North Ridge sickened and
died, so the party had to be postponed) ;
So did the trees.

Contrary to the usual Hollywood stop
of the men who make a star's career, ii
is to four women Lucille is especially
grateful. Two of these are Ginger Roger?
and her mother Lela who, in her ca-t j!
pacity as head of the studio dramatic
school at that time, taught Lucille most
of what she knows about acting. Lela
Rogers never had a more ardent student.
When other glamour kids were making
up excuses to cut classes because of a, .
too-late party the night before, the Bait' "
girl was there with eyes aglow. thankfHi
for the chance.

Claudette Colbert is the third. Lik
has never more than met Miss Colben [
on social occasions. Yet again and again
word has come back to her that ha«?!=
right ear should have been burning be-, j
cause at dinner the night before, at the L
Zanucks, for instance, Claudette wail-
singing her praises as one of the mania
promising younger stars. Or at a pre-ll
miere with the Sam Goldwyns. Or wheri ;
she was visiting Louis B. Mayer a' L
Metro. Just one of those things thayl.
re-established your faith in Hollywoodllll

Last but not least is Carole Lombardjll!
Their first encounter was when Lucilkg.
had wandered over to a friend's for din-jl
ner in her favorite article of appareLjl
slacks, when who should walk in but thtj I
Gables. After one startled gulp the RKC
comedy bombshell — and we mean LujJ
cille — froze up like a Nesselrode puddingj
too scared to open her mouth. Not sflij )
Carole. She plopped herself down be-li i
side Lucille, told her what a future tha.1.
believed she had and exactly what i-ht
should do about the next steps in hell
career. Lucille followed that counsel to*
her everlasting gratitude.

Then shortly after Desi and Lucille re- J
turned to Hollywood as newlyweds, thejJ
were having dinner at Dave Chasen's anrjli
spied the Gables at another table. Nofl
wishing to intrude, the two Arna e.
gaped and grinned at their idols like twdl
dumbstruck fans. Presently the Gabieil
waved gaily at them and before therm
could catch their breath over came a castfl
of champagne as a wedding present fronm
Clark and Carole.

So perhaps you can understand whjl
Lucille has decided it's a swell world ill
you keep on laughing.

The End

102

Coming!

To the readers who have written us — and written us . . . For a
color portrait of Robert Stack, Universal's popular young star,
and begged for a story on him . . . We joyfully announce both
will be found in next month's issue with

ROBERT STACK SPEAKING!

PHOTOPLAY C07?»bi7!ed U'itrl MOVTJE MIRrO!

WHEN INFLUENZA
STRIKES:

Is America threatened with a major influ-
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Beauty & Health!

• * •

HEDDA HOPPERS ESCAPE INTO

LIFE For the first time she reveals the

source of her inexhaustible energy and
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• • *

ALSO Style on Skates • A Matter of

Form • Are You the Wife Type? • Tour
Second Child • Do Without That • and
more Dated Diets.

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Brief Reviews

(Continued from page 19)

tiling new in the way of shuddery villainy and
Peter Lorre is his accomplice. (Jan.)

y MEN IN HER LIFE, THE— Columbia : Conrad
Yeidt is a retired dancer who makes of ambitious
Loretta Young a world-famous ballerina. In
gratitude, Loretta marries him, renouncing John
Shepperd, who's a handsome newcomer. The music.
the exquisite dancing and the glamour and excite-
ment of backstage life have been captured and
projected by director Gregory Ratoff. (Jan.)

MERCY ISLAND— Republic: When attorney Ray
Middleton and his wife, Gloria Dickson, are swept
ashore in the Florida Keys and he discovers
fugitive surgeon Otto Kruger hiding there, he
becomes obsessed with the desire to return Kruger
to justice. All three of the principals are quite
good. (Jan.)

MEXICAN SPITFIRE'S BABY— RKO-Radio.
When Leon Errol has a little war orphan brought
over from Europe, he hopes it will fix things up
with the troubled marriage of Lttpe Velez and
Buddy Rogers. The baby turns out to be a glamour
girl, but the story gets duller and unfunnier. (Dec.)

MOONLIGHT IN HA WAII— Universal : Leon
Errol and Richard Carle feud over a radio show
and try to marry wealthy widow Marjorie Gateson,
but it's Mischa Auer who finally gets her. The
Merry Macs, Johnny Downs and Jane Frazee all
float through the mild little story. (Jan.)

MR. CELEBRITY— Producers Releasing Corp.: A
young veterinarian, James Seay, takes his nephew.
Buzzy Henry, to Celebrity Farm to hide out from
his grandparents and so retain his custody. There
he encounters Francis X. Bushman, Clara Kimball
Young and Jim Jeffries, who'll bring you nostalgic
memories. It's sentimental, but lively and heart-
warming, and young Buzzy is outstanding. (Dec.)

NEVER GIVE A SUCKER AN EVEN BREAK
— Universal: In this picture Bill Fields attempts
to sell a screen story he has written to a producer.
In real life, he sold this one to Universal, but
we don't know why because it isn't funny and it
makes no sense. Gloria Jean is a bright spot in
the dull business and Franklin Pangborn swipes
a few scenes. (Jan.)

<y NEW YORK TOWN — Paramount: Fred
MacMurray, a sidewalk photographer in New York,
shows naive New Englander Mary Martin how to
live off the town. But when he tries to marry her
off to prosperous Robert Preston, he learns that all
the best things in life are free. Akim Tamiroff and
Lynne Overman aid MacMurray in this enchanting
comedy. (Nov.)

y NOTHING BUT THE TRUTH— Paramount:
In spite of its bewhiskered story, Bob Hope makes
this picture a laugh-provoking winner. He bets
$10,000 of Paulette Goddard's money that he can
tell the truth for twenty-four hours. Howls of
laughter are the result. (Nov.)

• OUR WIFE — Columbia: All about one husband.
Melvyn Douglas, and his troubles with two women,
one an ex-wife, Ellen Drew, and the other his fiancee,
scientist Ruth Httssey. Charles Coburn is Ruth's
father, also a scientist, and John Hubbard her non-
scientific brother It's got a lot of laughs (Nov.)

OUTLAW TRAIL. THE— RKO-Radio: Intend-
ing to aid in a bank robbery, young Tim Holt turns
hero instead when he aids the marshal in catching
the robber band and when the marshal dies, Tim
takes over his job and stays a good boy from there
on it. Fans are sure to like Tim. (Dec.)

PITTSBURGH KID, THE— Republic : The usual

prize-fight picture, this, relieved in its monotonous
plot by the casting of Jean Parker as the manager
of fighter Billy Conn. You're going to be agreeably
surprised at Billy, who's not half bad as a screen
personality. Jean's a cute trick, too. (Dec.)

REG'LAR FELLERS— P. R. C. : The cartoon
i strip characters, played by Billy Lee, Alfalfa
Switzer and Buddy Boles, are back again for an-
other series of fun It's a picture for kids (Nov )

SAILORS ON LEAVE— Republic: Sailor Bill
Lundigan s pals try to marry him off before a
certain date so he can collect an inherifaTice. They
pick night-club singer Shirley Ross as the girl,

but Shirley hates sailors and Bill doesn't
to get married, which leads to many comical
interludes, mostly supplied by Chick (handler and
Cliff Nazarro. It's a cute movie. (Jan.)

SCATTERGOOD MEETS BROADWAY— I'yia
mid-RKO: Scattcrgood Bainrs. the small-town Mr.
Fix it played by Guy Kibbee, helps William Henry,
the village playwright, outwit Frank Jenks and
Bradley Page and present a smash Broadwaj
cess. Its homey flavor is embellished by some
bright comedy and corny but good gags. (Nov.)

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SING ANOTHER CHORUS— Universal:
Downs, aided by Jane Frazee, tries to get
lege show on Broadway, but villainous Walter
Catlett and his voluptuous co-worker, Iris Adrian,
throw a monke wrench into the works. (Dec.)

SK YLARK— Paramount: Claudette Colbert is the
dissatisfied wife who leaves her devoted husband,
Ray Milland, because his business entanglements
prove too annoying. Brian Aherne is miscast as the
other man in her life, but Milland and Walter Abel
win our hearty approval. (Dec.)

SMI LIN' THROUGH— M-G-M: Jeanette Mac-
Donald has the dual role of the bride who loses
her life and as her own niece years later; and
Gene Raymond also plays a dual role as the
rejected suitor and his son. Brian Aherne is mis-
cast. For Jeanette's fans only. (Jan.)

SOUTH OF TAHITI— Universal: Here we are
again, back in the old South Seas, with Brian
Donlevy, Broderick Crawford and Andy Devine
as a trio of pearl robbers who reform in order to
thwart Henry Wilcoxon and his gang. (Jan.)

yf SUNDOWN — Wanger: Sustained action is the
keynote of this story of a British government out-
post in Africa. Bruce Cabot as Commissioner of the
post steals most of the honors, and George Sanders
also shines, as does Gene Tierney as the beautiful
half-caste. (Dec.)

\S SUN VALLEY SERENADE— 20th Century-
Fox: Sonja Henie is a Norwegian refugee adopted
by band player John Payne, who's in love with
Lynn Bari, the band singer. When the orchestra
goes to Sun Valley, Sonja goes along, determined
to marry John. Sonja's enchanting and her skat-
ing numbers are excellent. (Nov.)

\/y SUSPICION— RKO-Radio: A triumph of
direction and acting is this emotional, suspenseful
masterpiece about a naive English girl, Joan
Fontaine, who falls in love and marries Cary Grant,
only to discover his worthlessness. Then dread and
suspicion enter their lives and desperation brings
on fearful consequences. (Dec.)

\/ SWAMP WATER— 20th Century-Fox: A

vivid picture, this, of the simple people living near
the swamps of Georgia. Dana Andrews penetrates
the dangerous swamp in search of his lost dog;
finds Walter Brennan, an escaped murderer, living
there and learns of his innocence. Anne Baxter,
Walter Huston, Mary Howard and Virginia Gil-
more are all excellent performers. (Jan.)

SWING IT, SOLDIER— Universal : For radio-
minded fans, this gives you Ken Murray as a
rookie who mistakes singer Frances Langford for
her married twin, Don Wilson, Brenda and Cobina,
and Skinnay Ennis and his band. The music is
good and Frances sings several numbers. (Jan.)

TANKS A MILLION— Ha\ Roach-U.A.; This
small-size panic is all about a draftee, a former
railway information clerk, William Tracy, who
annoys his superior officers by spouting from mem-
ory long passages from the Army manual. James
Gleason is the enraged officer and Elyse Knox the
eye-filler. But it's Private Tracy's picture. (Nov.)

^ TARGET FOR TONIGHT— Warners release
of a British Gov't, film: Its tremendous simplicity
and straightforward honesty in telling make this
story of boys in the R.A.F. one of the strongest
war documents ever filmed. It tells the story of a
raid on Nazi oil tanks by English bombers and
boys of the R.A.F. and officers of the station are
the only actors. Dramatic and suspenseful. (Jan.)

THIS WOMAN . IS MINE— Universal: Lus-
cious Carol Bruce is a stowaway on a trading ve?
sel during the 18th Century with John Carroll,
Franchot Tone and Walter Brennan all on the ship!
The only exciting moments in the picture are the
last scenes depicting the conflict between the India: s
and the white men. (Nov.)

TILLIE THE TOILER— Columbia: First of a
new series, this introduces Kay Harris, who is pert,
pretty and talented and makes an ideal Tillie. Wil-
liam Tracy is Mac, Jack Arnold the smug
Whipple, and Daphne Pollard Mumsy. It flounders
around a bit due to poor writing and direction, but
give Tillie time. (Nov.)

TWO LATINS FROM MANHATTAN — Co-
lumbia: Trite, corny and uninspired is this story of
a night-club press agent, Joan Davis, who substitutes
her roommates Jinx Falkenburg and I
bury, a song and dance team, for two Cuban enter-
tainers who failed to arrive. Of course, everything
gets very complicated. (Dec.)

• UNFINISHED BUSINESS — Universal:
You'll undoubtedly enjoy this gay movie about
small-town girl Irene Dunne who meets and

in love with debonair Preston Foster who prompt! -.-
forgets her. Out of spite she marries his brother,
Robert Montgomery. (Nov.)

• WEEK END IN HAVANA— 20th Century-
Fox: Frothy, gay and tuneful is this typical /
musical. The featherweight plot has New York
girl Alice Faye enjoying a Havana vacation a
expense of a steamship company and a romanc
executive John Payne. Carmen Miranda's

are hot-pepperish. (Dec.)

\/\/ WHEN LADIES MEET— M-G-M: A star-
studded picture, this, smart and entertaining.
Robert Taylor is in love with authoress Joan Craw
ford who is in love with publisher Herbert Mar:
who is married to Greer Garson with obvious com-
plications. Both the girls do splendid jobs, but Bob
Taylor walks away with every scene. (Nov.)

• WHISTLING IN THE DARK — M-G-M:
M-G-M's new prize comedian Red Skelton pi
himself a prize indeed as the radio crime story
writer who's kidnapped by Conrad Veidt in order
to create a perfect crime for Mr. Veidt. It's corn,
we admit, but it's funny and gay. (Nov.)

WILD GEESE CALLING— 20th Century-Fox:
Henry Fonda is the boy with wanderlust who
meets Joan Bennett, waterfront chorus girl, and
marries her. But he follows disreputable Warren
William to Alaska and meets disillusionment before
he finally finds contentment. It's slow and aimless
and dull, and Bennett is thoroughly miscast, i I

WORLD PREMIERE— Paramount: John Barry-
more is a movie producer who takes the c;
his movie, including Ricardo Cortez as the star
and Virginia Dale the heroine, to Washington for
the world premiere. It should be funny, but it
turns out to be very unfunny. (Nov.)

\/ YANK IN THE R.A.F., A— 20th Century-Fox:
An exciting and timely show, with Tyrone Power
as the fearless, cocky American who joins the
R.A.F. and woos night-club dancer Betty Grable on
the side. The scenes in the R.A.F. provide tre-
mendous interest. (Dec.)

\S YOU'LL NEVER GET RICH— Columb..
Fred Astaire is a rookie recruited from the ranks • :
dance directors and when Fred goes to can-. .
Robert Benchley tries to wreck his romantic pla; -
with dancing cutie Rita Hayworth. It's ga>
amusing and Rita is the best dancing partn'-
Fred's had since Ginger Rogers. (Jan.)

Merrymaking at the Mocambo for service men: Michele Morgan dances
with Sergeant Pasternaki; Marie Wilson takes over Private Guston.
Private Guston himself takes over Photoplay-Movie Mirror on page 43

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Ida — the Mad Lupino

(Continued from page 53) softly after
a while.

"We've been sitting in front of it for
the last half-hour," Louis said.

Then, quite suddenly, Ida Lupino came
together as a personality; she emerged,
as does the picture in a jigsaw puzzle
when you fit two or three pieces into
their proper places and find you've got
a herd of cows, or The Flying Dutchman.
Except that Ida turned out to be a far
more exciting picture; to the surprise
of everyone, including her studio bosses,
her delighted agents, even Connie and
Louis, she became a really fine actress.
On the screen, she metamorphosed her
pure Cockney self into a neurotic little
American slut, for "They Drive By
Night," accent and all, to perfection. She
did "High Sierra," and her mother and
husband all but fell out of their seats at
the preview, in sheer astonishment.

She did "Ladies In Retirement," with
Louis. That's in your neighborhood
theater now, probably. You can go see
it, to know what I mean.

Along with normal adjustments and
growing up, the new success wrought its
good magic on Lupino as a woman, as a
wife, as well.

She was still a little dramatic about
Life, of course, as she will always be.
Ida Takes Things Big — Love, her Profes-
sion, her Spring Cold, the State of Her
Hair, her Newest Picture. All in capitals.
All and each the most important thing
that ever happened to anybody, any-
where. Some people live that way, and
when they are great in what they do you
do not call it a fault; it is an Idiosyn-
crasy, or even Temperament.

BUT the neuroses are not there. I don't
believe really — and I've known Ida
Hayward since she wore platinum hair —
that ever, even for one moment, has that
very shrewd, practical, imginative mind
of hers been twisted one iota off its true
course. She has a few minor mental
twists, with names: she has echolalia,
which sounds dreadful but which is the
normal rest-insurance of an active, tired
mind (she counts out loud the letters in
signs, and wants them to come out even).
She has acrophobia. (So has Joan Craw-
ford.) She has an exhibitionist complex
(no one ever becomes an actress or actor
without one) which she manifests in-
versely, by being frightened of crowds.

She finds it extremely hard, on an in-
stant's notice, to tell the absolute truth
about herself, or her life, or her personal
history. That is because she has spent
so many years trying to make events
match with the essential lie about her
age.

Outside of these things she leads as
normal a life as any woman who is both
an intellectual and a Hollywood actress
can possibly lead. Her marriage is a
thoroughly modern arrangement: More
than half the time she and Louis pass
each other in the hall and say, "Hi, how
was your day? See you at eleven if
you're still awake, don't forget our din-
ner date tomorrow."

Louis and Ida like the house they have,
and the hill it's on. So they stay there,
which is as it should be. But in that house
a kind of harmony prevails, accented by
blue notes and by occasional harsh tints
(when Ida's nerves go to pieces and she
makes a production out of something).
There, too, any sensitive observer will
recognize the seldom feeling, exciting
because it is so rare in any house, that
something creative has been, is, or is
about to be done; and he will be right.
The End.

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106

The Shadow Stage

(Continued from page 24)

^ The Chocolate Soldier
(M-G-M)

It's About: A jealous husband who tests
the fidelity oj his capricious wife.

THE big news of this gay song fest is a
' brown-eyed young charmer from the
opera, Miss Rise Stevens, who becomes
Nelson Eddy's singing partner in the
chuckle-laden story of "The Guards-
man" set to the Oscar Strauss music of
"The Chocolate Soldier."

Another news flash emanating from
this movie is the clever acting of Mr.
Eddy who gives his very best per-
formance since "Naughty Marietta." Per-
haps the change of pace, as well as change
of partners, accounts for Mr. Eddy's easy,
natural manner, to say nothing of his
surprising gift for comedy. As the mar-
ried operetta star who tests the loyalty
of his wife, Miss Stevens, Nelson is most
amusing. He accomplishes this little trick
by donning the whiskers and attire of a
Russian baritone and then making love
to his wife.

The music is out of this world. "My
Hero," the hit of the original "Chocolate
Soldier" show, and "Evening Star" from
"Tannhauser," the beautiful Strauss
melodies, plus a few of Mr. Eddy's best
loved selections, are sung in harmony
with the story.

Nigel Bruce and Florence Bates are
incidental, but nice incidentals, to the
story.

Your Reviewer Soys: A musical hit.

Keep 'Em Flying (Universal)

It's About: Two cronies bottleneck a naval
training school.

I T was bound to happen! Those funny
' men, Bud Abbott and Lou Costello,
have hit an air pocket in their too con-
stant movie-making and zoomed down
to a point one mile this side of nothing.

The boys are given a thin, anemic story
with little of the humor that has packed
their other stories. That the picture is
nothing to shout about is certainly not
the fault of the boys. The story simply
isn't there and what there is of it is
constantly interrupted with the singing
of Carol Bruce (badly photographed)
and her romantic interludes with Dick
Foran, who also sings at odd moments.

The twin -sister routine played by
Martha Raye missed a mile for our
money. Martha's bag of tricks seems
oddly shoddy these days.

But make no mistake, despite these
faults, the boys will rate cheers per
minute simply because they have en-
sconced themselves so thoroughly under
the public's funny bone. Several of the
gags are most amusing, indeed, such as
the torpedo on the loose and the boys
on their own in the air.

Your Reviewer Says: Funny men in a not-
so-funny story.

The Perfect Snob
(Twentieth Century-Fox)

It's About: A socially ambitious mama
and a carpet-slipper dad.

SOMETHING old. nothing new, some-
thing borrowed and the audience
blue! That about sums up this little
wedding -march tale of a small -town

debbie who marries, against her am-
bitious mama's wishes, a young man
who (wouldn't you know it?) turns out
to be rich. Cornel Wilde, a newcomer,
is the lucky man.

Charlotte Greenwood hardly seems the
calculating mama type, but Charlie Rug-
gles, as take-it-easy Pop, is just right in
his role. Why Lynn Bari was tossed into
this little pot stew we'll never know.

Oh well, it means well and tries hard,
this little moom pitcher, so maybe we
shouldn't be too hard on it.

Your Reviewer Says: We'd rather throw
snowballs.

Obliging Young Lady
(RKO-Radio)

It's About: The odd position of a child
caught between two dissenting parents.

JOAN CARROLL is the below teen-
•* age youngster who was permitted
(pardon the understatement) to loiter
about under contract to Twentieth Cen-
tury-Fox Studios, so as to offer no com-
petition to their starlet, Shirley Temple.
Tired of the seclusion, Miss Carroll took
herself to RKO; made a hit in "Primrose
Path," moved on to New York to startle
the customers in "Panama Hattie."

We give you this short resume of her
activities because one day we feel Joan
will be news.

This movie is not the screen success
we hoped it would be for Joan. It has
her a hoydenish youngster taken by a
friend of her parents to a secluded resort
while her parents battle things out in
court. Needless to say, Joan, the im-
possible, makes life hot for everyone,
including reporters Eve Arden and Ed-
mond O'Brien, who is sweet on Ruth
Warrick, Joan's custodian.

While it's nothing to write home
about, it has its moments and Joan keeps
things lively, that we promise.

Your Reviewer Soys: Fair enough but not
good enough.

Playmates (RKO-Radio)

It's About: The efforts of two press
agents to place their clients on the radio.

TAKE Kay Kyser and his band, plus
' John Barrymore and his grimaces, add
Ginny Simms (Barrymore should love a
girl called Ginny) gone glamorous and
stir in, just for the fun, Patsy Kelly, Lupe
Velez, May Robson and Peter Lind Hayes
— and what have you got?

If you ever find out, let us know, for
never have we witnessed such a con-
glomeration of tomfoolery and nonsense.
As near as we could fathom, press agents
Patsy Kelly and Peter Lind Hayes are
"skumming schemes," as Amos and Andy
say, to land their clients John and Kay
on the air. They end up in a debauched
Shakespearean spree that is mighty
touching in some spots and mighty bor-
ing in others.

Kyser's peculiar talents for non-acting
are a perfect balance for Barrymore's
overacting.

The music is delightful, Ginny beauti-
ful, May Robson cute as the grand-
mother and what more do you want for
your money?

Your Reviewer Scys: A combination salad
— with ham.

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TEBRUARY, 1942

Swing It, Soldier (Universal)

It's About: A rookie who mistakes a
singer for her married twin.

D ADIO personalities move in bag and
^ baggage to a cozy home in movie-
town and proceed to entertain and at
times amuse. Ken Murray is a likeable
dumb-bunny soldier who carries a mes-
sage from a rookie pal to his wife who is
going to have a baby. Of course, Murray
meets the single twin sister instead of the
married sister and, well — you can
imagine the amazement of Miss Frances
Langford, who plays the dual role, at
some of Mr. Murray's remarks.

The music is good. Frances sings sev-
eral numbers, especially the old favorite,
"Melancholy Baby," as only she can.
Don Wilson, recruited from the Jack
Benny show, and Blanche Stewart and
Elvia Allman (Brenda and Cobina) are
fugitives from Bob Hope's program.

Skinnay Ennis and his band, another
Hope asset, provide some swell swing.

For those who are besieged with curi-
osity to see radio names take on life,
this may have a special appeal. Other-
wise it's just a movie.

Your Reviewer Says: For radio-minded
fans only.

^ Texas (Columbia)

It's About: The fate of two boys who
travel ivest after the Civil War.

TEXAS" is one of the best Westerns

' we've seen in a long time and for two
very good reasons, namely — Glenn Ford
and William Holden. If these boys aren't
the two best younger actors in the busi-
ness then we miss our guess. Their work
is a joy to behold and to them goes the
credit for lifting "Texas" into the "y°u
should see" class.

The story has the two boys trekking
westward after the Civil War, each to go
his separate way. Ford takes the high
road; Holden, the low unlawful path. He
joins up with cattle rustlers bent on
keeping the ranchers' cattle from reach-
ing Abilene, Kansas, the legitimate mar-
ket. Ford, of course, is on the side of
the ranchers. More antagonism grows
between the boys when both fall in love
with the same girl, Claire Trevor.

There's a lot of punch injected into the
story with a stampede that's a lulu, a
shooting-iron climax and an old-time
prize fight that's a honey.

Edgar Buchanan, as the unscrupulous
dentist who pulls molars while hatching
his deviltry (he's a dentist in real life,
too), is terrific.

To get away from the eternal near-
comedies, why not give yourself a change
and a treat and see "Texas." You can't
go wrong.

Your Reviewer Says: An A Western, load-
ed with talent.

" Rise And Shine
(Twentieth Century-Fox)

It's About: The attempts of a gangster
to kidnap a football star.

THOSE fans who are eager to laugh
at the slightest excuse will have that
opportunity to indulge in their favorite
sport when "Rise And Shine" comes to
town. While not the best comedy ever
made by a long, long way, the picture
still has enough bright spots to coax
forth the chuckles.

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107

Jack Oakie is marvelous as the dumb-
hunky football star who is the saving
grace of his college team. Sent to observe
the star's condition by a betting gangster
is George Murphy, himself an ex-all-
American. The gangster bets as Murphy
predicts until the final game when the
gambler attempts to kidnap Oakie and
place all his money on the opposing team.

With Murphy on his odd mission are
Ruth Donnelly and Raymond Walburn.
This pair, along with Milton Berle and
Walter Brennan as a wooing old
"Gramps," add to the confusion.

The best we've saved until the last
(at least she's the prettiest) and that my
friends, is Linda Darnell, cheerleader
and daughter of an eccentric old pro-
fessor, Donald Meek.

Youngsters, we think, will love the
goings-on and who are we to say oldsters
won't, as well?

Your Reviewer Says: College chi-chi.

^ One Foot In Heaven (Warners)

It's About: The struggles of a young
Methodist minister and his wife.

A QUIETLY beautiful story is this one
** of the young Canadian doctor who is
converted overnight and enters the min-
istry. With his bewildered bride, Martha
Scott, Fredric March as the preacher be-
gins his work in a small Iowa village
under the most adverse circumstances.
Together they travel from church to
church, living in one undesirable par-
sonage after another, their faith holding
them together through the years.

The dream of his life is realized when
the minister is able at last to build his
own church.

Incidental homey events concerning
his children, his congregation, his home
life, dot the story with gems of human
interest. March is ideal as the minister
and Martha splendid as the wife.

Frankie Thomas and Elisabeth Fraser
are the children.

Your Reviewer Soys: A warm, tender
story.

Tarzan's Secret Treasure
(M-G-M)

It's About: The jungle man routs a band
of greedy interlopers.

THE great Tarzan series has developed
into adventure yarns more suitable to
children's taste than to adults'. The
scenes have become repetitious and need
an injection of clear originality to pep
up the vine-swinging capers of Mr. Big
Outdoorsy, played as usual by the bel-
lowing Johnny Weissmuller.

This time a party of scientists, includ-
ing villainous Tom Conway and Philip
Dorn, kidnap Tarzan's wife (Maureen
O'Sullivan) and son (John Sheffield) in
order to force the jungle giant into re-
vealing the location of an enormous gold
vein. The climax is thrilling, with ele-
phants and alligators and savages in a
grand melee of revenge.

Your Reviewer Soys: A whooper-dooper for
the kids.

^ Shadow Of The Thin Man
(M-G-M)

It's About: The suave detective unravels
a race-track murder mystery.

WELL, here's that man again, calmly
cooking the goose of crooks and
murderers and having a wonderful time
during the process. Myrna Loy is still
the playful helpmate of our charming
sleuth Nick Charles, played as ever by
William Powell. They are delightful, gay
people, this pair, but their charm and
gaiety are beginning to seem a bit repeti-
tious if you ask us. Enough is too much
sometimes; one is beginning to wonder
when the Charles family is going to quiet
down, if ever.

This time detective ' (retired — oh
yeah?) Charles is on his way to a race
track where he discovers a jockey has
been killed. Later a reporter is killed
under peculiar circmstances and Nick is
right on the scent as usual. The unravel-
ing of the mystery takes Mr. and Mrs.
Smartypants and the audience through

Favorite of the
back-lot gang is
"Tarzan's Secret
Treasure." Johnny
Weissmuller plays
Tarzan; Maureen
O'Sullivan is Mrs. T.;.
John Sheffield is
the chip off the old
brawn; monkey
Cheeta plays her
own inimitable self

innumerable alleyways of laughter and
melodrama.

The police detectives are, as usual,
portrayed as dumb ignoramuses who
couldn't catch a fly with molasses, let
alone glamour girl Stella Adler and the
usual array of gangster types. Dickie
Hall is the Charles's offspring, a cute
youngster and a chip off the old block
if ever we saw one.

Your Reviewer Says: Murder written to
swing time.

^They Died With Their Boots
On (Warners)

It's About: The lije and times of General
Custer.

WHOOPER-DOOPER "mellerdram-
mer" is woven into the life pattern
of an American figure, General George
Custer, and the result is rousing enter-
tainment. The story depicts the life of
Custer from the time he entered West
Point, a fantastic figure in braid and
brass buttons, followed by a trail of
hound dogs, to his heroic death at the
hands of battling Indians on the Western
plains.

His romance with and marriage to
Olivia de Havilland add the necessary
colors to the completed tapestry. Olivia
has never been so beautiful, to our no-
tion.

Through his cadet days and his brave
deeds in the Civil War and back to his
home in Michigan we follow George
Custer. Then comes his appointment to
take over the Seventh Cavalry, stationed
near Fort Lincoln. When Custer arrives,
drunkenness, disorder and rowdiness
mark the life of the soldiers within the
fort. Under his guidance, it emerges a
crack cavalry regiment which bravely
rides with Custer to their death in one
last stand against the Indians.

Anthony Quinn is very good indeed
as the Sioux chief Crazy Horse. Charles
Grapewin as the old codger who never
quite gets to "Californey," John Litel as
General Phil Sheridan, villainous Arthur
Kennedy and Walter Hampden lend
splendid support.

For those who love a good rousing
three-cheers-for-the-red-white-and-blue
story here it is. Under its swooping
sway we may even forget that under
no circumstances could Errol Flynn be
termed a "damned Yankee."

Ycur Reviewer Says: America on
movie march.

the

108

* Blues In The Night (Warners)

It's About: A small dance band that falls
heir to trouble in an infamous roadhouse.

"DLUES IN THE NIGHT" is an odd,
D sultry, moody and tempestuous sort
of picture with men's emotions set to the
throbbing music of Jimmy Lunceford's
band. It serves as a vehicle to introduce
to movie fans Richard Whorf. the young
stage actor who has been associated in
the past with Lunt and Fontanne. That
he is a definite, distinct personality can-
not be denied. In fact, we predict Mr.
Whorf will very shortly become a star
of the very first magnitude. Priscilla
Lane and Betty Field share equal glorj
for their strong, outstanding perform-
ances.

The story tells of six young people,
up from the deep South, eager to play
the blue music in their souls. Whorf.
who plays Jigger, is the pianist whom
Priscilla Lane, wife of musician Jack
(Continued on page 110)

photoplay combined with movie mirror

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TEBRUARY, 1942

109

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Str Your
Doctor Rrfutariy

(Continued from page 108) Carson, se-
cretly loves. They finally land an engage-
ment at a notorious roadhouse run by
gangster Lloyd Nolan. Gutter rat Betty
Field soon entices Whorf away from his
band, then tosses him over. When she re-
turns for more deviltry, Wally Ford,
another of Betty's victims, arranges a
very neat and quite horrible revenge.

It sounds queerly somber and it is
queerly somber. But it's interesting,
beautifully acted and the music is al-
luring.

Your Reviewer Says: A fascinating low-
down-er.

"H. M. Pulham Esq. (M-G-M)

It's About: The traditional smu&iess of
a died-in-the-wool Bostonian.

CRANKLY disappointing, is our candid
' opinion of the movie version of John
P. Marquard's best seller. Robert Young
as Pulham, the man who hasn't the
stamina to break away from the tra-
ditional smugness that holds him to the
old ways of life, is ideal and for his splen-
did performance, for the careful direc-
tion, the playing of Ruth Hussey as Kay
Motford, the sterling performance of
newcomer Van Heflin who plays King.
we hand out our one-check approval.

Perhaps we're wrong — we have been
in the past, heaven knows — but it seems
to us a woman as beautiful as Miss
Lamarr should listen to her producer's
pleas to remain beautiful, alluring, sexy
and "Algier-ish." We already have too
many fair actresses and no beauty so rare
as Hedy's.

Your Reviewer Says: Rather heavy in
theme and execution.

Design For Scandal (M-G-M)

It's About: A double-crossing news pho-
tographer and a beautiful judge.

WHEN female judges become as beau-
tiful as Rosalind Russell, we predict
a crime wave the likes of which this
country has never seen.

Roz's beauty and charm are the undoing,
alas, of nervy news photographer Walter
Pidgeon who sets out to double-cross
Judge Roz at the instigation of his boss,
Edward Arnold, who wants his alimony
reduced. Pidgeon and Arnold believe
that if the judge herself can be embroiled
in a little underhanded scandal she may
listen to reason. Pidgeon, therefore, is
out to provide the scandal, only Miss
Russell catches on in time. But not be-
fore Mr. News Photographer is a dead
Pidgeon, as far as his heart is concerned.

The whole mess ends in a very funny
courtroom farce with Guy Kibbee a
screamingly funny judge.

Lee Bowman, Mary Beth Hughes and
Barbara Jo Allen get caught up in the
nonsense that is meant to be entertaining
fun and achieves its purpose.

Your Reviewer Says: A blues chaser.

Babes On Broadway (M-G-M)

It's About: The attempts of amateur kids
to crash Broadway.

YOU'VE seen this musical over and over
again — it's the same old story of would-
be actors finally hitting the big time —
but still we must admit that Mickey
Rooney and Judy Garland do manage to
instill freshness into it.

Mickev, Ray McDonald and Richard

110

Quine have an act they haven't been ab.e
to get very far with and, of course, tht:r
main ambition is to get on Broadway.
Judy Garland and a group of Settlement
House kids sidetrack them for a while.
but Mickey and Judy put on a show to
raise money to send the kids to the
country, a big producer, James Glei-
son, sees the show and everything turr.s
out all right. Not surprised, are you?

Mickey's impersonation of Carmen Mi-
randa is one of the high spots of the
picture; Judy's singing and Ray Mc- I
Donald's dancing are always delightful;
and Fay Bainter is charming as the thea--
rical producer's assistant. The production
numbers are staged with the lavishn
characteristic of all M-G-M musics
and you'll undoubtedly get some fun ou
of most of the proceedings, though som
of them are pretty corny.

Your Reviewer Says: For Garland ar.d
Rooney fans.

Cadet Girl
(Twentieth Century-Fox)

It's About: A West Point cadet and a
beautiful blonde.

THERE'S not much to shout about, but
■ if you think that little detail prevented
the makers of and participants in th:s
little number from not only shouting but
waving around the red, white, and blue
like mad, you are right out of your mind.
In fact, so loud is the shouting, duty to
Uncle Sam overcomes love and romance.

George Montgomery is a West Pointer
who falls in love with Carole Landis, a
singer with his brother's orchestra. They
decide to marry even if it means George s
expulsion from the famous training
school. To bring Cadet Montgomery to
his senses, his musician brother composes
a rousing song, "Uncle Sam Ge-s
Around," and Cupid, alas, goes down for
the count of nine.

Good music, good looks and some spe-
cial bits of acting here and there keep
the picture lively at least. And is thai
Montgomery handsome in uniform!

Your Reviewer Says: An Uncle Sammy
special.

^ Glamour Boy (Paramount)

It's About: A star who is a has-been r.t
nineteen.

MARK this down right now in your
little date book as a movie worth
seeing come rain, shine, thunder or
lightning. It's not a great big smash-
eroowoo, remember, but it's good, it s
cozy, it's appealing and it's loaded with
human interest. What's more, it has
Jackie Cooper playing a semifactual role
in experiences that somewhat parallel h:s
own.

Once a famous child star, Jackie, now
ignored, is called in by a studio to coach
a new child star, Darryl Hickman (a
real Quiz kid), in a remake of Jackie s
former hit, "Skippy."

In the meantime. Jackie meets and
falls for Susanna Foster, gets himself into
plenty of grief and gradually emerges
with a bracing new viewpoint, while
smug little Hickman slips into a suit of
human kindness.

Walter Abel's singing over the tele-
phone to little Timmie Hawkins. Su-
sanna's warbling and Jackie Cooper s
viewing himself in "Skippy" are the high-
lights of this little breath of spring.

Your Reviewer Says: A goodie.

photoplay combined with movie mirror

Special work for women!

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The Nunnally Houst in Atlanta is a
fine example of Southern architecture.
Its spacious interiors glow with treasured
pieces of mahogany and rosewood. On
the tables, Camel cigarettes . . ."My
guests prefer them," says Mrs. Nunnally.

Charming member of a fine old

Southern family

Mrs- Hugh Pendleton Nunnally

OF ATLANTA

"The mildness of a Camel cigarette is something
special... less nicotine in the smoke, you know!

YOUNG Mrs. Hugh Nunnally, renowned for her ex-
quisite blonde beauty, traces her family background
to signers of the Declaration of Independence. Active in
Atlanta welfare and defense work, she finds relaxation in
her garden. Her favorite cigarette is Camel. And she
says: "I really mean my favorite. I can't think of any
other cigarette that gives me the pleasure Camels do. So
mild and good-tasting — they're just more fun to smoke,
that's all! We never tire of them, so I buy my Camels by
the carton and have plenty on hand for everybody."

A few of the many other

distinguished women who

prefer Camel cigarettes:

Mrs. Nicholas Bichlle, Philadelphia

Mrs Gail Borden, Chicago

Mrs. Powell Cabot, Boston

Mrs. Charles Carroll, Jr., Maryland

Mrs. Randolph Carter, Virginia

Mrs. J. Gardner Coolidge 2nd, Boston

Mrs. Anthony J. Drexel 3rd, Philadelphia

Mrs. Alexander Cochrane Forbes,

New York

Miss Eleanor 1' 'rotbingham, Boston

Mrs. John Hylan Heminway, New York

Mrs. Alexander Ilixon, California

Mrs. Martin Osbom, California

Ml Louis Swift, Jr., Chicago

Mrs. Oliver De< iraj \ indi rbilt III,

Cincinnati

Mrs. Kiliaen M. Van Rensselaer,

CAMEL

the cigarette of
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The smoke of slower-burning
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Know the Thrill a Lovelier Skin can Brinq You
Go on the CAMAY MILD SOAP DIET !

« <

This thrilling idea is based

on the advice of skin specialists

— praised by lovely brides!

1IKE thousands of other brides whose
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No woman's skin can be truly
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Mrs. Conner's skin is wonderful
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Tests prove Camay milder!

Skin specialists themselves advise a
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Put your complete trust in Camay.
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coon the MILD-SOAP DIET TON,CHT

This charming bride i~ Mrs. ('liar M
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ii comes to my beauty care. Winn
people admire my complexion 1 tell t
aboul the 'Mild-Soap' Diet and vh
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r»r

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FOR 30 DAYS. ..LET NO OTHER SOAP TOUCH YOUR SKIN

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YOU think beauty is all-important?
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"Pink Tooth Brush"-
A warning Signal

If you want bright, sparkling teeth that
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Gums must retain their healthy firmness.
So if there's ever the slightest tinge
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MARCH, 1942

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ishedln j i%J%[

space t *.;

The greatest

star of the

screen!

When the going got toughest, Abe Lin-
coln said, "With the fearful strain that
is upon me night and day, if I did not
laugh I should die."

• • • •

The screens of Amer- -.W^L'.'AV.'^li' /

ica provide enter-_

tainment for all. The- 1

movies started as a ■

novelty, learned not

to flicker and learned

how to talk. They were developed by

Americans and conquered the world

with their merit.

• • • •

Go to your favorite theatre. There are
many fine films from all movie com-
panies. Sometimes they miss, sometimes
they hit, but the average is high.

• • • •
Metro-Goldwyn-Mayer is the leading
producer of movies. There are more
M-G-M stars than there are stars of
all the other companies combined.

• • • •

You have seen the recent films,
"H. M. Pulham, Esq." (Lamarr-Young-
Hussey), "Woman of the Year" (Tracy-
Hepburn) and "Johnny Eager" (Taylor-
Turner). If you haven't, they are still
playing some place.

• • • •
Each in its way is a masterpiece.

• • • •

'We

Now we should like to recommend

Were Dancing",

which is based in

part on the Noel

Coward playlets

called "Tonight at

8:30" — starring

Norma Shearer,

Melvyn Douglas.

'Mrs. Miniver",
based on the novel
by Jan Struther,
starring Greer
Garson and Wal-
ter Pidgeon.
• *
This screen play is
by James Hilton,
author of "Good-
bye Mr. Chips" and R. C. Sherriff,
author of "Journey's End." An excit-
ing collaboration.

MARCH, 1942

VOL. 20, NO. 4

Uncle Sam, you can count on me.

-JU&

Advertisement for Metro-Goldwyn-Mayer Pictures

ERNEST V. HEYN

Executive Editor

combined -with

LTD CX> YW U CB
00 n EEL EEl QD EH

HELEN GILMORE

Associate Editor

HIGHLIGHTS OF THIS ISSUE

Mickey Rooney Picks a Wife Sara Hamilton 26

Ann Sheridan's Surprise Marriage Gladys Hall 28

"You've Got To Believe Me!" Will Oursler 30

Any other woman, hearing those words, would have reacted just as Caryl Winslow

Hollywood Meets the War Challenge Louella O. Parsons 34

A scoop story on the stars' inside wartime activities

The Girl with a Hundred Faces Ida Zeitlin 38

A story that packs a big surprise — by the name of Rosemary DeCamp

"I'm No Cinderella Boy" Robert Stack speaking 41

My Own Super-Superlative Awards for 1941 Hedda Hopper 42

This witty columnist has some ideas along the Academy-Oscar lines

Strangers in Arms Marian Rhea 44

Private lives of Michele Morgan and Paul Henreid, Hollywood's new romantic team

How to Be a Social Success Ouida Bergere Rathbone 47

Different kind of party talk from Basil Rathbone's social-success wife

Valentines from Benny Dennis Sprague 48

Jackson goes tender in public — enough said!

Three Little Maids in Movies 50

An intriguing just-we-girls picture of Susan Peters, Ann Edmonds and Jean Ames

This Above All Fiction version by Norton Russell 52

An exciting special preview of Twentieth Century-Fox's picture of the year

Garbo Finds Herself Rilla Page Palmborg 54

A new and daring plan of life prescribed for the great star by an eminent
psychologist

Jackie Had a Friend Named Mabel Adele Whitely Fletcher 62

An insight into Jackie Cooper's life that will have you applauding him heartily

The Truth about Hollywood Casting "Fearless" 65

GLAMOUR

Robert Stack 40

Portraits:

George Sanders 46

Loretta Young 64

Color Portraits of

These Popular Stars:

Barbara Stanwyck 33

Veronica Lake 36

James Cagney 37

FASHIONS, BEAUTY NOTES AND DEPARTMENTS

Close Ups and Long Shots — Just Picture Yourself 22

Ruth Waterbury 4 Lady Fare 56

The Shadow Stage 6 March Mode-Makers 57

Inside Stuff— Cal York 8 Star Finds in the Stores 109

Speak for Yourself 18 Dried and True 110

Brief Reviews 20 Casts of Current Pictures 112

COVER: Bette Davis, Natural Color Photograph by Paul Hesse

PHOTOPLAY combined with MOVIE- MIRROR is published monthly by MAC! VJDDEN PUBLK VTIONS l\c.
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Metro - Goldwyn - Mayer

presents

THE PICTURE
OF THE YEAR!

TRACY
HEPBURN

YEAR

ANP THerR£6ooDArjor»-

GEORGE STEVENS'

Production

with FAY BAINTER • REGINALD OWEN • Directed by GEORGE STEVENS
Produced by JOSEPH L. MANKIEWICZ • Screen Play by Ring Lardner, Jr. and Michael Kanin

MARCH. 1942

CLOSE UPS

AND LONG SHOTS

Joel McCrea puts himself
into the Gary Cooper
class in "Sullivan's Trav-
els" with Veronica Lake

Claudette Colbert gives a "supreme" performance with
John Payne and Douglas Croft in "Remember The Day,"
blend of gentle tears and chuckling laughter

a rare

HOLLYWOOD, under war condi-
tions, is a strangely changing
place . . . the windows of all
the Brown Derbys are painted over
with dark brown paint so that not so
much as a glimmer of light steals
forth . . . the studios are all on a
new schedule . . . eight to five . . .
which makes Hollywood even more of
an early-to-bed town than it is nor-
mally (and it has always folded up
around ten o'clock despite those glit-
tering photographs you see from
Ciro's, the Mocambo and such
spots). . . .

These new, earlier hours are an
attempt to dodge the blackouts but
two sets of movie workers suffer
slightly because of them . . . the stellar
girls must now rise by five, if they are
to be on the sets, made up, by eight
and this in turn means that the hair-
dressers must crawl, with carefully
shaded lights, through that darkest
hour before the dawn to see that the
glamour girls have every curl in place,
war or no war. . . .

There will be no more location trips
to photograph backgrounds, no more
premieres of big pictures, no more
night previews of mere average pic-
tures until we have won this battle of
freedom . . . the location trips are off
because all the "wild" spots in and
around . . . those locations which for
years have been anything from the
forest primeval to the hills of Shangri-
La to the movie-makers . . . are now

The beguiling Dumbo rides merrily
on the high road to bigger and
better wartime smile entertainment

By RUTH WATERBURY

Army encampments . . . besides, no
studio wants to have its valuable stars
even five miles away from town. . . .

The premieres are off because
their vivid lights and massed crowds
would be veritable invitations to
air-raiders and because all parades
of luxury are in bad taste now . . .
the color is completely departed from
the previews and they are being held
in the afternoons in those dreary little
studio projection rooms which the
trade has always called "sweat boxes"
. . . but even the reviewers, chronic
grumblers, are not grumbling now . . .
complaining is in bad taste, too, and
moreover nobody wants to be travel-
ing miles and miles merely to cover
some "B" offering. . . .

Even the locations that were merely
on the "back lot" of the various studios
. . . those "standing sets," those "for-
eign streets," those "steamship piers"
(complete with "standing" waves and
"standing" steamers), those "rivers"
and "jungles" ... all have been moved
inside the sound stages for safety's
sake. . . .

Yes, Hollywood under war condi-
tions is strangely changing, yet in one
sense it is becoming only more its self
. . . just as it is really an early-to-bed

town it is also really a worker's town
and now it is becoming more so . . .
the visitors are gone . . . gone from
the sets . . . gone from the restaurants
. . . gone from the colony itself . . .
the closing of Santa Anita did some
of that . . . the closing of all sets to
everyone except the actual studio
personnel or the working press did the
rest of it . . . the only "outsiders" you
see in Hollywood these days are
officials from Washington. . . .

There are scores and scores of
Washington visitors but you may not.
as Lt. Col. Joseph F. Battley told me,
"expect this to be a glamour war''
. . . Washington wants enlistments in
all ranks . . . technicians, particularly,
the art directors who know so much
about camouflage, the writers for prop-
aganda work, and such . . . but it
wants no Garbo in overalls, posing as
the Spirit of Armament ... no Rita
Hay worth flashing her legs and her
smiles as the Spirit of Our Flag . . .
Washington has asked Hollywood . . .
and will be receiving from Hollywood
. . . films of American history . . . in-
struction shorts . . . the making of
diagrams, posters and the like ... in
terms of actual man power many have
been called and many have been
chosen . . . you probably will not see
Second Lt. Stewart back again
on the (Continued on page 91)

photoplay combined with MOVIE mirror

The most side-splitting,
surprise-full adventure you'll
see this year ... a remarkable
picture about a remarkable guy ,

SMAKKABIE

BRIAN

DONLEVY

with

WILLIAM

• HOLDEN •

ELLEN

DREW

MONTAGU LOVE • PORTER HALL

Directed by STUART HEISLER • Novel and Screen Play by Dalton Trumbo
A Paramount Picture

ASK YOUR THEATRE MANAGER WHEN THIS BIG PARAMOUNT r IS COMING

REVIEWING MOVIES OF THE MONTH

A reliable guide to recent pictures. One check means good; two checks, outstanding

Rowdy, rollicking satire: Ann Sheridan,
Richard Travis, Bette Davis and Monty
Woolley in "The Man Who Came To Dinner"

Knockout performances in a knockout,
realistic motion picture: Lana Turner
and Robert Tayior in "Johnny Eager"

*" The Man Who Came To
Dinner (Warners)

It's Abouh A world-renowned sophis-
ticate who takes over a Midwest
household.

WHAT "The Little Foxes" was to
drama, "The Man Who Came To
Dinner" is to comedy. Every bit as
good as the play that rocked Broad-
way and hinterland audiences for two
years is this rowdy, rollicking and, at
times, bitter satire.

The audience laughed so long and
so loud many of the rare verbal tid-
bits were lost. Bette Davis is, of
course, splendid as secretary to Sheri-
dan Whiteside, the man who came to
dinner. Richard Travis, as the young
newspaper man, is a winner all right.

Ann Sheridan does a grand job as
the actress. Jimmy # Durante as
"Banjo," Billie Burke and Grant
Mitchell as the unwilling hostess and
host of the nasty old tyrant, George
Barbier as the doctor, are outstanding.
But a bit by Reginald Gardiner all
but steals the show.

All characters are drawn from life,
so have fun guessing who's who while
you are yelping with delight.

Your Reviewer Says: An eight-course
banquet of delight.

The Best Pictures of the Month
Johnny Eager

The Man Who Came To Dinner
Joan Of Paris

Best Performances

Robert Taylor in "Johnny Eager"

Van Heflin in "Johnny Eager"

Douglas Fairbanks Jr. in "The
Corsican Brothers"

Olsen and Johnson in "Hellza-
poppin' "

Monty Woolley in "The Man Who
Came To Dinner"

Claudette Colbert in "Remember
The Day"

Paul Henreid in "Joan Of Paris"

Michele Morgan in "Joan Of Paris"

^ Johnny Eager (M-G-M)

It's About: A hard-hearted gangster
who discovers that love and death
walk hand in hand.

BOB TAYLOR scores a knockout
performance as a conscienceless
mobster who covers his crooked deal-
ings by reporting regularly to his
parole officer and, on the surface, liv-
ing respectably as a taxi driver.

Beneath that front, he's a mean
killer, utterly incapable of under-
standing man's better nature until he
meets Lana Turner, a society girl and
daughter of Attorney Edward Arnold.
Even then his meanness takes its
natural course when, in order to keep
Arnold from exposing him, he frames
Lana into believing she has murdered
a man. But, in an ironic twist of plot,
he gets his come-uppance.

Van Heflin, as his only true friend,
almost steals the show — and he must
be good to rob Taylor of one iota of
glory, Bob's that socko. Frankly, we
like Lana better in "slitchy" roles:
but, even so, her performance here is
proof la Turner can act.

Everyone in the cast shines in his
role and, while the theme is repel-
lently real, it's a tremendous picture.

Your Reviewer Says: A lam to the
heart. (Continued on page 95)

FOR COMPLETE CASTS OF CURRENT PICTURES SEE PAGE

photoplay combined with movie mirror

Get ready

•••to

thrilling new love team!

MARCH, 1942

Oni>ide Stuff

CAL YORK'S

GOSSIP OF HOLLYWOOD

PHOTOGRAPHS BY HYMAN FINK

'sjpa

A why-people-gasped picture: Ginger
Rogers and her ex-husband Lew Ayres
show up and start more tongues wag-
ging at the Russian Relief concert

Lou Costello and Bud Abbott finally
make it — that is, they leave their
immortal imprints in the cement of
the forecourt of Grauman's Chinese

DRAMA — First Act: For some time
past Cary Grant has been quietly
taking the rap with news photogra-
phers for raising old Ned every time
the boys came near the actor and Bar-
bara Hutton. Now it seems Barbara
herself is to blame and has come for-
ward and admitted it to the camera
lads, which changes the complexion of
things a bit. We never could believe
Cary capable of temperament, having
always found him gracious and
friendly.

By the way, someone reports having
seen Cary and Carole Landis at the
beach amusement centers several
times. Must be a mistake. But think
now, whom does Miss Landis resem-
ble? Sure, Phyllis Brooks.- And whom
does Phyllis more than resemble? Of
course, Virginia Cherrill. now the
Countess of Jersey and Cary's first
wife. Several friends still insist Vir-
ginia was Cary's one true love.

Drama — Second Act: Phyllis Brooks

John Howard and Hedy
Lamarr see each other,
but they're seldom
seen by the public.
Brown Derby luncheon
scene shows up Hedy
in her favorite off-
screen attire — slacks
and a kerchief tied
over her braided hair

couldn't help but see us sitting there,
but she obviously didn't care a whoop,
for the telephone conversation went
right on.

We don't know who was on the
other end, but our ears certainly
pricked up (we weren't eavesdrop-
ping, for we simply couldn't get away)
when Phyllis said: "Oh. I'd love to see
you. I suppose you'll be going to
Cary's. Yes, he's giving a party. How
I'd love to go, but. you see, I can't on
account of (Continued on page 10)

photoplay combined with movie mirsob

"9-letter word meaning Social Suicide"

GOT you stumped, has it? Well, try
" again, Buttercup. It's a word you, in
sarticular, ought to Know about. Here we
rome with a little help . . . and do you need it.

Suppose you start with an "H". Now
Irop in an "A". Next, try an "L", as in
'love" — and wouldn't you like a little
)f that!

There! You've made a start. At this
joint may we suggest an "I". You know,
'I" as in "it" — which you haven't got or
rou wouldn't be sitting at home of a
Saturday night doing crossword puzzles.

In the next space try a "T". We're get-
ing places. Now an "O". That gives you
T-A-L-I-T-O. Only three more letters and
'ou'll have the answer.

In that next space slip in an "S" — could
|;tand for "seductive" in your case but for

one thing. But let's get on..;

Put in another "I" as in "idea" — which
you're going to get in just a second.

Now end it up with another "S" and
Lady, you've got it.

Got what? The answer to your puzzle,
and more important still, perhaps the
answer to why your dates are so few . . .
why boys don't stick around . . . why
you're sort of "on the shelf."

It's halitosis (bad breath) — the 9-letter
word for Social Suicide. Halitosis is the
offense that no one overlooks and that
anyone may commit at some time or other
without realizing it.

Of course there's often something you
can do about it . . . something you ought
to do about it if you want others to like you.

To make your breath sweeter, more
alluring, less likely to offend, use Listerine
Antiseptic . . . every night and every morn-
ing, and before any date at which you
want to appear at your best. Never . . .
never! . . . omit this delightful precaution.

Why Listerine Does It

While sometimes systemic, the fermenta-
tion of tiny food particles on tooth, gum,
and mouth surfaces is the major cause of
halitosis (bad breath), according to some
authorities. Listerine Anti-
septic quickly halts such
fermentation, then over-
comes the odors that fer-
mentation causes.
Lambert Pharmacal Co.
St. Louis, Mo.

Before any engagement let Listerine look after your breath

SlARCH. 1942

jRl>i(k Stuff

Hard nut to crack at a
sweet charity meeting was
Jean Arthur who, at the Los
Angeles Community Chest
get-together, refused to pose,
was caught in a flash with
her husband by Hymie Fink

she uses IRRESISTIBLE

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Community talk at the
committee meeting at
the Biltmore Bowl was
loud and long at the
Norma Shearer-Edward
Arnold end of the table

(Continued from page 8) Barbara.
Oh, no, she wouldn't have it. It's silly,
for I wouldn't mind a bit, but Barbara
would."

All of a sudden we felt we had
glimpsed a familiar situation from an
entirely new angle. Cary Grant,
Barbara Hutton and Phyllis Brooks
had somehow all switched places and
Phyllis was suddenly the leading lady
in the little drama that had so in-
trigued Hollywood. She was no
longer the pathetic little ex-sweet-
heart she had seemed. Maybe she
never had been. But you know how
Hollywood interprets an off-with-the-
old - love - and - on - with - the-new-one
triangle.

As we looked more closely, we dis-
covered Phyllis had even taken on a
new beauty, a new assurance and cer-
tainly a new lease on her career.

We remembered someone's having
told us that the philosophy of her good
friend, playwright William Saroyan,
was responsible for her ditching for-
ever the torch she had been carrying
for Cary. Now here she is gay, for-
giving and, so it seems, completely
uncaring.

Who will be the winner in the
finale of this little drama, we wonder.
Let's hope all three will find exactly
what they're seeking.

Charity Calling: We've said it be
fore and we say it again — there's no
place like Hollywood to respond to
worthy call for help.

The Los Angeles Examiner's yearly
benefit to buy Christmas baskets for
the poor brought out the stars in
droves.

Red Skelton, Bob Hope and Rudy
Vallee got together for a little gabfest
before the show — and try buying that
array of talent for peanuts. Mickey
Rooney, with his fiancee Ava
Gardner, won tremendous applause^
Mickey and Skelton put on a great:
act together.

Cary Grant and Pat O'Brien
couldn't get away from the Megli
Kiddies and Cary was especially
drawn to little Billy Lee and Roddy
McDowall of "How Green Was My
Valley" fame.

It was great to see Bette Davis am
Monte Blue, a onetime big star, to
gether.

Four famous profiles, Cesar Romero
Tyrone Power, Jimmy Durante anc
John Carradine. were in collar-ad
evidence. George Montgomery anc
Roy Rogers seemed more than pleased
with Rita Hayworth.

As usual, it was a wonderful Holly-
wood turnout, with stars in the sky
on the stage and on all the flags.

photoplay combined with movie mirroh

Are These Your Choice?: If you

were to choose the ten most popular
men and women stars of 1941, whom
would you select? Well, Feg Murray,
of "Seein' Stars" fame, made a news-
paper canvass from coast to coast and
in Latin America, and here are the
results, given in the order of the
canvass: Men: Gene Autry, Tyrone
Power, Clark Gable, Errol Flynn,
Spencer Tracy, Nelson Eddy, John
Payne, Don Ameche, Robert Taylor,
Mickey Rooney. Women: Bette
Davis, Sonja Henie, Betty Grable,
Alice Faye, Dorothy Lamour, Judy
Garland, Deanna Durbin, Jeanette
MacDonald, Olivia de Havilland,
Linda Darnell.

One notices Jimmy Stewart's ab-
sence from the screen has left his
name only a memory. Gene Autry
had thirty-three per cent more votes
than his runner-up, Tyrone Power.
The top four women stars in popular-
ity are blondes. Odd that Lana Turner
failed to make the list for the year.

More than 400 different players re-
ceived votes, while Hollywood itself
limits its star rating to about fifty
people. Interesting, too, is the rise of
newcomer John Payne.

At any rate, it's the people's choice
and it's the people who make or break
the stars.

The Winnah: Ginger Rogers let fly
with a right hook and caught Helene
Fortescue Reynolds squarely on the
chin. Helene, in turn, hooked a left
to Ginger's blue eye, which brought
an even more perfect uppercut to
Helene's amazed jaw.

Finally, Director Bill Wellman
called "Cut" and the two girls started
out of the scene, panting, when an
onlooker on the "Roxie Hart" set
stepped over and held up Ginger's
hand.

What's a charity meeting without
a blonde — two of them, in fact?
Anne Shirley, Marjorie Woodworth and
Roy Rogers do their committee stuff

"I'm in the Dog-House—
the Boss has "Fire7 in his Eye!

Ada: And you can't guess why you're in
the dog-house, Jane? Well my pet, you're
decorative to the eye, and you're a speed
demon for work. But, Jane, you're guilty

of one careless, unforgivable little fault!
Jane: Now don't "underarm odor" me— or
friendship ceases. You know I'd rather skip
breakfast than miss my morning bath!

F~r J

1?^

7J / ■'-'■

Ada: Foolish girl— why trust your bath to
last all day! Use speedy Mum under each
arm— if you want to stay flower-fresh!
Jane: So that's why the perfect secretary is
withering on the job. I am ashamed!

• - half a minute —
W„m takes l»* ^ for hours'.
keeps uade^s^atmodor)

Wum PreventSnnerspiration.
.vithoutstopp.ngper^^^^^

M„m won't »"»",,„ today!
harm clothes. Get M

Jane: (later) Mum's marvelous for my
speedy morning routine! 30 seconds and
I'm through. And business day or gala eve-
ning, I'm free from worry— safe from of-
fending. And the boss is smiling these days!

Napkin*

-A &ntle. de-

For Sanitary ""1*^ a "musf S«r
UdabUdf^:Sm this uay, too.
this purpose, try

Mum

Takes the Odor Out of Perspiration

PRODUCT OF BRISTOL-MYERS

Paul Whiteman opens at the Flor-
entine Gardens; musical-minded
Kay Kyser, Ginny Simms and Rudy
Vallee yodel him a big welcome

Barbara Stanwyck rises to the oc-
casion, bows to the Gardens cus-
tomers. Gary Cooper and her hus-
band Bob Taylor do some handwork

"You've got the best feminine
uppercut I've ever seen," he said with
admiration.

Ginger looked at him, puzzled. The
man laughed. "I'm Gene Tunney,"
he said, "and I'm glad I gave up
fighting before you took it up."

Ginger is as pleased as punch.

That's Telling Them, Girls: Well, the
gals of the Hollywood Women's Press
Club got themselves together for a
little voting on the most co-operative
and nonco-operative stars in Holly-
wood, Bette Davis and Bob Hope
winning the co-operative prizes
hands down. On the wrong side of
the fence are Ginger Rogers and Fred
Astaire as booby-prize winners for
nonco-operation with the press.

Among the most nonco-operative
femmes as voted by the club before
its final decision were Ginger Rogers,
Marlene Dietrich and Jean Arthur.
The men were Fred Astaire, Ronald

Colman and Bing Crosby.

When Ginger was asked her opinion
of the decision she said, "I have noth-
ing to say, except that I seem to be
listed among some nice people. . . ."

Here is what the others said:

Fred Astaire: "They should have
respect for my age."

Marlene Dietrich: "I thought I had
co-operated with everybody, but pos-

Top: "Coop" gives a handout.
Directly above: Taylor, with
the Coopers, does a ditto act

sibly I was so overrun with men re-
porters that I didn't give enough time
to the ladies."

Bing Crosby: "If they mean I'm
losing my hair, that isn't my fault."

Ronald Colman: "Can I help it if
I'm dull?"

Jean Arthur, as usual, wouldn't
even talk to anyone about it.

Among the most co-operative were

photoplay combined with movie mirror

J Ml JORKVp

Orchids-and-bliss picture of
Milton Berle and bride Joyce
Mathews. The Berles — plus Mama —
now live in the Tom Mix mansion

listed Bette Davis, Rita Hayworth,
Ann Sheridan. The men were Bob
Hope, Clark Gable and Robert Taylor.

A small golden-apple lapel pin was
given to Bette Davis (see page 72)
and a golden-apple script marker to
winner Bob Hope. Incidentally, Bob
Hope won the Hollywood photogra-
phers' award for the most photo-
generous star in the business.

Now you know how inside Holly-
wood feels about certain stars.

Home-Wrecking Annie: "Never have
your picture taken with a stranger,"
has become Ann Sheridan's New
Year resolution. It was brought about
when Annie received a curtly worded
letter, with a snapshot enclosed, from
a Chicago woman. The snapshot was
a picture of Ann which included the
woman's husband.

The letter read: "My husband has
been boasting that he met you socially
when he went to California on busi-
ness. I know he's lying and that he's
just trying to make me mad because
he mentions it only when we're
around friends," and closed with a
plea for help.

Ann had to think a long time about
that picture. Then she recalled one
night at an ice rink a stranger had
snapped a picture of her while another
strange man was standing close by.

She wrote and explained that fact
to the Chicago wife and then wrote
out her resolution.

Thisa and Thata: Loyalty is one of
Hollywood's chief charms. It was dis-

MARCH, 1942

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"// - , -

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that imparts this glamorous loveli-
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warmth of color in your hair— gives
it a brighter, richer tone— a softer,
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In I Of! and

jnh'm Stuff

Pennies for the
poor from a show
by million-dollar
stars: Bob Crosby,
Bette Davis and
Monte Blue join
forces with . . .

. . . Red Skelton,
Bob Hope and Rudy
Vallee, show up to
show off at the
Los Angeles Exam-
iner's yearly
charity event

played in its true colors when old
maestro Paul Whiteman opened at the
Florentine Gardens and all the big-
name stars, including Bob Taylor and
Barbara Stanwyck, Gary Cooper and
his wife, turned out in Paul's honor.
Dorothy Lamour is drooping over
her broken romance with attorney
Greg Bautzer. Friends hope Dottie
and Greg will get together soon. At
any rate, the Navy, who have chosen
Dottie as their favorite gal, gave three
cheers over the news.

Rockabye Hollywood: The year 1941
will go down in cinema history as the
year of births. Some even point to it
as an indication of war, claiming
more children are born just before or
during a war than any other time. At
any rate, let's take a glance back-
wards and note the number of babies
born to movie celebrities, a record
that far exceeds the number of di-
vorces.

The really important stars who con-
tributed to Hollywood's population
include Constance Moore, Veronica
Lake, Mary Martin, Lili Damita and
Errol Flynn, Jane Wyman and Ronald
Reagan, Connie Bennett and Gilbert
Roland, Virginia Bruce and J. Walter
Ruben, Jack Carson and Kay St.

Germaine, Lois Andrews and George
Jessel, and Margaret Sullavan. The
long-legged bird is also expected to
visit the Jackie Coogans and Alice
Faye and Phil Harris.

Some group of babies, isn't it? At
any rate, it shows Hollywood no
longer lives under the fear of losing
popularity either through marriage or
parenthood.

Tidbits: The funniest sight Cal has
seen in months was Hedy Lamarr
lunching at the Brown Derby, staring
at the booth directly opposite at the
extra girl who is her exact image.

The extra girl took one calm look
at Hedy and went right on eating.
Hedy, on the other hand, could
scarcely take her eyes from the girl.

It made a cozy tidbit for the Derby
lunchers. . . .

Betty Grable explains that as a
friend and sweetheart, George Raft is
perfect. There's just one drawback
to the romance. That's his gifts of
race horses that George registers in
Betty's name. They always come in
last!

Whoa, there, romance!

Behind the Scenes with Cal: Friends
are holding their breath — but Elaine

photoplay combined with movie mirror

Barrie has been visiting John Barry-
more while he's been ill. If that pah-
gets together old Cal simply gives up.
Our "noives" can't take it.

Doctors say "war nerves" were re-
sponsible for the premature birth of
the Connie Bennett-Gilbert Roland
baby, who was born before its mother
could be taken to a hospital. Little
Miss Christina Roland is as beautiful
as her mommy.

There are whispers that already
powers-that-be are dictating policies
to the young director-genius, John
Huston, whose first picture, "The
Maltese Falcon," was a directorial
wow. Huston, Walter's son, is busy
with the Bette Davis picture, "In This
Our Life," and, Cal hears, his wonder-
ful young ideas are being changed by
the Front Offices. Bette herself is
worried over it, so it was told old Cal.
Shame, isn't it?

Twinkle, twinkle little star in
the blackout. Rita Hayworth comes
to Ciro's with husband Ed Judson
in blackout hat and dress equipped
with tiny identification reflectors

V for Victor — To Love or to Hate:

"What's the matter around here?"
Vic Mature screamed at Cal the other
day on the "Song Of The Islands" set.
"Nobody hates me any more and I'm
unhappy."

"Are you crazy, Mature?" we asked.

"Crazy, heck!" he came back. "To
be liked by everyone in this industry
is bad. Movie biggies pay more at-
tention to the squawkers, the hard-to-
get-along-with guys than the easy-
brush-off guy. Say, I know. When I
was raising heck all over the place
about my Hal Roach contract deal, I
got plenty of attention. It was good
for me. When I justifiably raised more
heck during the shooting of 'Hot Spot,'
what happened? Did I get kicked out
or slapped down? Don't believe it.
Mr. Zanuck took matters in his own
hands, looked at the rushes, decided
I was right and then bought my con-
tract from Roach. If I'd been namby-
pamby about that trouble, where
would I have been?

MARCH. 1942

Baby your face at bedtime to

Wake up Lovelier!

Doctors advise
"baby- care" for
your complexion

Each night give your face this gende
Ivory soap-and-water care advised by
doctors for the World's Most Perfect
Complexion — baby's own!

Bedtime beauty-care, now more
than ever, means Ivory Soap. For the
quick cream lather of New "Velvet-
Suds" Ivory is gentler than ever to
your skin. Actually, New Ivory is
milder than 10 leading toilet soaps!

9944/l00% PURE • IT FLOATS

IS YOUR SKIN DRY. sensitive? You
should "baby" it with this gentle, New
Ivory night-time routine: Cream lukewarm
Ivory lather well into your skin with gentle
fingertip massage. Warm rinses — pat dry.
Since your skin lacks sufficient oil, apply
lightly a little cold cream. Doctors advise
gentle Ivory cleansing!

IS YOUR SKIN OILY? Then you'll
want New Ivory's richer, creamier lather to
remove excess oil. Every night: With a rough
washcloth, lather up lukewarm Ivory velvet
suds — Vi-inch lather simply creams off your
Ivory cake! Scrub upward and outward into
every inch of your face. Rinse. Repeat. Warm
rinse, then cold. Use this Ivory method 3
times daily for sa/e beauty-care!

"Baby-care" is Beauty-care . . . use

New \e/vet-Judd IVORY

CHAPPED HANDS

HEAL FASTER...

CCORDING TO ACTUAL TESTS
WITH NOXZEMA SKIN CREAM

These unretouched photographs (Case
34) show results of Noxzema. Left
shows badly chapped hands before treat-
ment. Right shows wonderful improve-
ment after using Noxzema.

X'ith Noxzema, definite improve-
nent in red, rough, chapped hands
s often seen overnight! That's be-
ause this famous medicated cream
lelps soften dry, rough skin; aids
n healing tiny skin "cuts."
'AVE ON STOCKINGS. Guard
igainst snagging precious stockings.
Hielp keep your bands and feet soft,
smooth— with Noxzema!

Let Noxzema help you all these
ways this winter

WINDBURN, CHAPPED LIPS.
Noxzema brings quick, soothing re
lief to red, rough, painfully wind
burned skin and ugly chapped lips
Mary Richardson of St. Paul. Minn,
says: "1 use Noxzema on my face to
help protect my skin against winter
winds and to soothe it after exposure."

FROST BITE, CHIIBLAINS, PAINFULLY
CHAFED SKIN. Noxzema brings grand
relief! Mrs. Harriette Eddy, of Min-
neapolis, writes: "Every winter 1 suf-
fered from Chilblains. After one
application of Noxzema I felt a cool,
soothing comfort I'd never known!"

POOR COMPLEXION. Try medicated
Noxzema for externally-caused blem-
ishes; for skin reddened, roughened and

"dried out" from winter winds. See for
yourself how quickly this soothing
cream helps improve

your complexion!

SPECIAL OFFER. Here's your opportu-
nity to find out how much Noxzema
<..m do for you! For a limited time you
can get the 25* jar at any drug or cos-
metic counter-.FOR ONLY 19?! Get
your jar today!

Jni'uk otuff

Bright idea to give ser-
vice men a bright outlook
on life: Parties Unlimited,
with a star-studded mem-
bership, entertains service
men based near Holly-
wood. Fair example: Phyl-
lis Brooks gives a dance at
the West Side Tennis Club

Claire Trevor takes on
two of the armed forces
at the right, shows
them a wonderful time
at the Club, sends them
home cheering Hollywood,
the stars, and one of
the most spirited war-
time organizations
in the film colony

"Look, I love Joe von Sternberg
and bless him for what he did for me
on the screen in 'The Shanghai Ges-
ture,' but, brother, when he got sassy,
I got sassy. No mealy-mouth business
about it. And you should see the
result.

"When I signed this new contract
my agent gave me just two words of
advice. 'Vic,' he said, 'be difficult.'
And now look, everyone slaps me on
the back, nobody hates me. I'm wor-
ried!"

We couldn't help but laugh, for
we're one of Vic's ardent admirers,
but there's something to his argument,
especially when his salary has jumped
from $400 to $1,750.

But how, Cal pauses to inquire, can
anyone hate a guy as co-operative as
Vic? Even to oblige him?

When Good Fellows Get Together:
We happened onto the "In This Our
Life" set just during the scene when
Charles Coburn hands Olivia de Hav-
illand a letter. Olivia was supposed
to register annoyance as she read;
take it from visiting Cal, she did.
Afterwards, she showed us the note
unsuspecting Coburn had handed her.
It read:

"Dear Livvie: While you are work-
ing like a slave I've been given the
day off. It's a lovely day to be loafing.

Wish you were here. Love. Be*
Davis."

Bette and Olivia are having fun t<
gether in this picture and now we
waiting for Livvie's revenge.

The Rotary Club Should Kno*
Clark Gable is rapidly taking ov<
the role of the best businessman i
Hollywood. On their recent trip bac
East, Clark and Carole bought a
$1100 car in a Middle Western tow
and drove it home. In Hollywood the
sold the car at only $100 loss.

The expenses home amounted I
exactly $87. Carole and Clark stoppe
in small towns and hotels, ate i
small restaurants and had a biggt
time than Santa Claus.

When people have more fun tha
Gable and get a bigger kick out (
doing it the American way — that o
the average man — then we give up
You just can't beat that guy!

Or Do You Prefer Gin Rummy!
Hollywood is playing a new game ari(
oddly enough it began among th<
secretaries of a large studio. "If
could be married to five men at once,' I
they begin, and then each makes he:
choice. A writer's secretary madi
this choice: Jock Whitney to pay th<.
bills, Clifton Fadiman to talk to, R«|
Skelton to make her laugh, Fre<

photoplay combined with movie mirkoii

Astaire to dance with and Lew Ayres
for evenings at the fireside. Another
chose Howard Hughes to pay the
bills, Noel Coward to talk to, Bob
Hope to make her laugh, Cesar Ro-
mero to dance with and Eddie Duchin
for quiet evenings at home.

To the surprise of the girls the
writer himself popped out with his
version. Hedy Lamarr to lavish gifts
upon, Greer Garson to talk with, Elsa
Maxwell to make him laugh, Rita
Hayworth to dance with and himself
for quiet evenings at home.

Got any better suggestions?

War and the Working Gal: Patrons
of Nancy's Gown Shoppe on Holly-
wood Boulevard are surprised these
days to find Pat Stewart, much pub-
licized fiancee of Wayne Morris,
working there as a saleslady.

Marriage plans of Pat and Wayne
have hit a snag, for the young man
doesn't feel the salary Uncle Sam pays
him in the Navy is adequate for the
support of a bride.

So while Pat is waiting for things
to straighten out, she decided to be-
come a working girl.

Are You Half a Hundred?: Well,
old Cal knows well enough all Photo-
play-Movie Mirror readers aren't
debs, sub-debs and so-called young
matrons. We know from our fan mail
that older men and women are just
as avid readers of Hollywood news as
the youngsters, so here's a special
bulletin for them. Hugh Herbert has
organized a "Fun Begins At Fifty"
Club. If you're fifty or over and are
frank to admit it, you can become an
honorary member by just writing
Hugh at Universal Studios.

Among the Hollywoodites who have

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